mUltimate Chopin

Op. 64 No 2, Waltz in C♯ minor

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Page: 
Source: 
p. 1, b. 1-32
p. 1, b. 1-32
p. 2, b. 33-64
p. 3, b. 65-96
p. 4, b. 97-128
p. 5, b. 129-160
p. 6, b. 161-192
Main text
Main text
As - Autograph sketch
AI - Autograph Rothschild
A - Autograph
FE - French edition
FE1 - First French edition
FED - Dubois copy
FES - Stirling copy
GE - German Edition
GE1op - First German edition of Op. 64
GE1no2 - First German edition of Waltz No 2
GE2op - Second German edition of Op. 64
GE2no2 - Second German edition of Waltz No 2
GE3op - Corrected impression of GE2op
EE - English Edition
EEC - Earliest English edition
EEW1 - First English edition
EEW2 - Revised impression of EEW1
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Notation
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Pitch
Rhythm
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Articulation, Accents, Hairpins
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Pedalling
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Differences
No differences
As - Autograph sketch
AI - Autograph Rothschild
A - Autograph
FE - French edition
FE1 - First French edition
FED - Dubois copy
FES - Stirling copy
GE - German Edition
GE1op - First German edition of Op. 64
GE1no2 - First German edition of Waltz No 2
GE2op - Second German edition of Op. 64
GE2no2 - Second German edition of Waltz No 2
GE3op - Corrected impression of GE2op
EE - English Edition
EEC - Earliest English edition
EEW1 - First English edition
EEW2 - Revised impression of EEW1
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  b. 31

in As

in AI

in A (→FE→GE,EE)

Three versions of this bar show that Chopin from the very beginning had a general vision of shaping the melodic line –  – and that he tried to fill the framework with different motivic cells, as, e.g., the f-g progression or a pair of repeated notes. The latter appears only in AI and A, probably in relation to eliminating it from the melody in previous bar 30. 

Compare the passage in the sources»

category imprint: Differences between sources; Corrections & alterations

issues:

notation: Pitch

Missing markers on sources: A, As, AI, FE1, FED, FES, GE1op, GE2op, GE1no2, EEC, EEW1, EEW2, GE2no2, GE3op
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