Issues : Inaccurate slurs in A

b. 32

composition: Op. 64 No 2, Waltz in C♯ minor

Slur in As, AI & A (→FEGE,EEW1EEW2)

No slur in EEC

..

In the previous autographs the notation of slurs in the ending of this bar and in the next section of the Waltz is unclear. In As the slur starts in bar 32 (at the end of the line), yet it is missing any continuation. In AI one generally cannot see a slur at the end of bar 32, yet the beginning of the slur in bar 33 can be considered to suggest embracing with it also the last crotchet in bar 32, beginning the phrase.

The absence of the slur in EEC is most probably an error. 

category imprint: Graphic ambiguousness; Differences between sources

issues: Errors in EE , Inaccurate slurs in A

b. 33-34

composition: Op. 64 No 2, Waltz in C♯ minor

Slur in AI (bars 33-34)

Slurs in A (→FEGE,EEW1EEW2)

New slur in bar 33 in EEC

..

The slur of AI (slurs?) in bars 33-34 is unclear, as far as its range (does the slur run already from the last crotchet in bar 32 and where does it lead) and continuity (break over the 1st quaver in bar 34) are concerned. According to us, neither the shape nor the range of both parts of the slur indicate an intention of dividing them – the break is most probably a result of a temporary lack of ink. A similar cause could have also provoked abandonment of continuation of the slur. Therefore, we assume that the slur begins in bar 32 and embraces bars 33-34, which may be interpreted as a general signal suggesting performance – its counterpart in a developed notation would have been, e.g., the slur Chopin wrote in analogous bars 49-54 in A. The above observations also apply to bars 48-50. In the remaining bars of this section (bars 35-48 and 51-64) AI does not have any slurs. In As there are no slurs in the entire section (bars 33-64). Both manuscripts are also devoid of dynamic signs and pedalling.

In the main text we give the slurs of A (→FEGE,EE).

category imprint: Graphic ambiguousness; Differences between sources; Corrections & alterations

issues: Errors in EE , Inaccurate slurs in A

b. 75-76

composition: Op. 64 No 2, Waltz in C♯ minor

New slur from 3rd beat of bar 75 in AI, contextual interpretation

Continuous slur in A (→FEEE,GE1op,GE1no2GE2no2)

New slur from 3rd beat of bar 76 in GE2op (→GE3op)

..

In AI, the slur running from bar 73 ends over the 1st crotchet in bar 75, whereas a new slur begins from the 3rd beat of this bar. Leaving the 2nd crotchet outside of the phrases raises doubts – according to the musical sense, it is the first slur that is most probably too short, e.g. as a result of ink stoppage. Therefore, we interpret it as reaching e2.
The broken slur in bar 76 is an arbitrary revision of GE2op (→GE3op). 

category imprint: Differences between sources; Corrections & alterations

issues: Inaccurate slurs in A , GE revisions

b. 80-81

composition: Op. 64 No 2, Waltz in C♯ minor

..

The slurring of AI, in the same way as in bars 65-72, is related to the regular four- and eight-bar structure of the phrases – one slur ends on the last quaver in bar 80, whereas the next one begins from the minim in bar 81. The slurring of A corresponds to the moved, more freely shaped phrases. In fact, the first slur does not go beyond bar 80, yet its shape clearly suggests leading it to a1 in bar 81. This is how it was interpreted in FE and in the remaining editions; these are also the slurs we give in the main text. Since both authentic slurrings are clearly linked to the rhythmic structure of the phrases, corresponding variants are included in the next note on rhythm.

category imprint: Graphic ambiguousness; Differences between sources; Corrections & alterations

issues: Inaccurate slurs in A

b. 85-86

composition: Op. 64 No 2, Waltz in C♯ minor

Slurs in AI, literal reading

Slurs in AI, contextual interpretation

Slur in A (→FEGE,EE)

..

We consider the fact of leaving the gminim without a slur in AI to be an inaccuracy of notation, similar to the one visible in bar 75. The phrasing of the version intended for print corresponds to natural divisions between the phrases, marked by rests. Since the slurrings of AI and A are closely related to the rhythmic structure of the phrases, corresponding variants are included in the note on bars 84-86, dedicated to various variants of the melody.

category imprint: Graphic ambiguousness; Differences between sources; Corrections & alterations

issues: Inaccurate slurs in A