Pitch
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b. 5-6
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composition: Op. 64 No 1, Waltz in D♭ major
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A comparison of the versions of As and AI allows to assume an intermediate stage, in which the melody in these bars already had the form written in AI, yet still without the four-bar introduction without accompaniment. In AI, the introduction, appearing for the first time, has a form of a preview of the actual beginning of the theme, which simply repeats the first three bars. In the final version, the entire "run-up," in which the four-quaver, ostinato figure develops, is moved to the introduction, which consequently organically combines with the theme, without any caesura. category imprint: Differences between sources; Corrections & alterations issues: Main-line changes |
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b. 8-16
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composition: Op. 64 No 1, Waltz in D♭ major
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We add a cautionary category imprint: Differences between sources issues: EE revisions , GE revisions , Cautionary accidentals |
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b. 11
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composition: Op. 64 No 1, Waltz in D♭ major
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In the previous autographs, the bar is an exact repetition of bar 9. category imprint: Differences between sources; Corrections & alterations issues: Accompaniment changes |
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b. 12
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composition: Op. 64 No 1, Waltz in D♭ major
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Originally, the part of the L.H. in this bar was a repetition of bar 10. Unlike in the previous bar, here one of the presentation autographs – AIII – already includes the final version. The version of AII is most probably Chopin's mistake. category imprint: Differences between sources; Corrections & alterations issues: Terzverschreibung error , Accompaniment changes |
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b. 13-14
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composition: Op. 64 No 1, Waltz in D♭ major
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The earlier autographs prove Chopin's ongoing quest concerning the smartest and most suggestive formula for the idea of a thread unfolding from a spinning ball. The idea – according to the testimony of Wilhelm von Lenz* – was suggested to the pupils by Chopin himself, using the words "it should be unfolding as [a thread] from a ball". Only in the final version, the melody, both in bars 5-7 and 13-15, has a homogeneous, smoothly "unfolding" form, without less or more evident sustentions (as it is in As and AI) or references to the initial phase of creation of an ostinato, spinning figure (as it is in AII and AIII). * W. von Lenz, Uebersichtliche Beurtheilung der Pianoforte-Kompositionen von Chopin [...], "Neue Berliner Musikzeitung" 18 IX 1872. category imprint: Differences between sources; Corrections & alterations issues: Chopin's hesitations , Main-line changes |
next to g
2 in bar 8 and 16. One of them was written by Chopin himself in bar 8 in 
