mUltimate Chopin

Op. 64 No 2, Waltz in C♯ minor

Text Compare Notes Sources Description

Issues : Authentic corrections of FE

b. 143

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

No  in A & EEW1

No pedalling in GE1no2

 &  in remaining sources

 i () suggested by the editors
..

In the main text we suggest a variant solution, as the absence of  in A may be a result of Chopin's uncertainty about the place where the pedal's release should be marked, whereas the authenticity of the addition performed in FE is not entirely sure.

category imprint: Interpretations within context; Differences between sources; Corrections & alterations

issues: Authentic corrections of FE

b. 147-148

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

2 different length  in A

4 longer  in FE (→GE,EE)

4 shorter  suggested by the editors
..

In bars 147-148 and 151-152 we suggest a  hairpin in the main text, in accordance with the notation of A in analogous bars 3-8 – see the note to bars 19-24. The signs added in bars 147-148 in the proofreading of FE (→GE,EE) – probably on Chopin's request – are clearly longer, yet there is no certainty that they were reproduced in full accordance with his intention (inaccuracies in this respect were very frequent and even Chopin himself could have been influenced by the longer signs visible in analogous bars on this page). The longer signs can be, however, considered to be an equal alternative to our suggestion in all four bars.

category imprint: Interpretations within context; Differences between sources; Corrections & alterations

issues: Scope of dynamic hairpins , Authentic corrections of FE

b. 159-160

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

No g1 in A & GE

g1 in FE (→EE)
..

The g1 crotchet, struck in bar 159 and sustained as a minim in bar 160, was added by Chopin in the last proofreading of FE (→EE). This kind of diversification of subsequent appearances of repeating musical ideas belonged to Chopin's favourite composer tricks.
The proofreading also embraced a change of the graphic layout of the text – the 3rd quaver in the R.H. was moved to the upper stave.

category imprint: Differences between sources; Corrections & alterations

issues: Authentic corrections of FE

b. 160

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

c in A & GE

C in FE (→EE)
..

Same as in bar 32, Chopin introduced the change of c to C in the last phase of proofreading of FE (→EE).

category imprint: Differences between sources; Corrections & alterations

issues: Accompaniment changes , Authentic corrections of FE , Bass register changes

b. 160

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

No  in A

 under rest in FE (→EE,GE1no2→GE2no2)

 after rest in GE1op (→GE2op→GE3op)
..

The absence of the  sign in A is almost certainly a mistake – in analogous bar 32 a respective sign is written. The addition of a  in FE may be attributed to Chopin's proofreading, although the placement of the sign – under the rest and not after it, as in bar 32 – raises certain doubts, as far as the accuracy of reproducing the composer's intention is concerned. In the main text, we stick to the notation of A in bar 32.

category imprint: Interpretations within context; Differences between sources

issues: Errors of A , Authentic corrections of FE