mUltimate Chopin

Op. 42, Waltz in A♭ major

Text Compare Notes Sources Description

Issues : Authentic corrections of FE

b. 216-217

composition: Op. 42, Waltz in A♭ major

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The placement of crescendo differs slightly in particular sources. In FEG Chopin added cresc. under the last quaver in bar 216, and this is how it was reproduced by the engraver of GE1. In the next editions, GE2 (→GE3), the indication was moved slightly to the left, starting on the last quaver in bar 216. In EE the word crescendo was divided into syllables, which is a characteristic revision of the editor, and it was started at the end of bar 216. In the main text we adopt the indication of FE1, beginning in bar 217. 

category imprint: Differences between sources

issues: Authentic corrections of FE , Authentic corrections of GE , Authentic corrections of EE

b. 222

composition: Op. 42, Waltz in A♭ major

Probable long accent in FEG

Short accent in FE, GE & EE
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The accent written by Chopin in FEG does not differ in the size from the next ones, yet in GE1 it was interpreted as short. Perhaps the engraver paid attention to a slightly different shape of the sign; he could have also assumed that an accent would be more suitable over the crotchet, while over the pair of quavers – a short diminuendo (this is how the engravers would treat Chopin long accents). FE and EE also have short accents, however, it does not give certainty – as in the case of GE1 – as to Chopin's intention. Without access to a photography of FEG with higher revolution, not to mention finding the base texts to FE and EE, this issue seems to be impossible to resolve.

category imprint: Differences between sources

issues: Long accents , Authentic corrections of FE , Authentic corrections of GE , Authentic corrections of EE

b. 227

composition: Op. 42, Waltz in A♭ major

Quavers without slur in FEG & FE1

Quavers with slur in GE & EE
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FE0 has a whole rest in the L.H. In FEG (→GE) Chopin added two quavers and relevant rests. He must have introduced a similar change also in the base texts to FE and EE. According to us, the quavers – same as the previous ones – were supposed to be embraced with a slur, in spite of the fact that it is absent in FE and in FEG (if we are to believe the photocopy of this source, which is not of the highest quality). 

category imprint: Differences between sources; Corrections & alterations

issues: Authentic corrections of FE , Authentic corrections of GE , Authentic corrections of EE

b. 229

composition: Op. 42, Waltz in A♭ major

in FE, EE & GE2 (→GE3)

No marking in FE0 (→FEG→GE1)
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Chopin added the  marking in the base texts to EE and FE. It was also added in GE2 (→GE3).

category imprint: Differences between sources

issues: Authentic corrections of FE , Authentic corrections of EE

b. 237

composition: Op. 42, Waltz in A♭ major

 in EE, contextual interpretation of FEG

 in FE1

No marking in FE0 (→GE)
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It is not clear what Chopin wanted to underline with the  mark: a sudden change of the chord at the beginning of the bar or the signal chord motif after the rest. The first possibility is suggested by the composer's entry in FEG (which was, after all, not included in GE) and the notation of EE, while the second one – by the notation of FE. It must be emphasised that even the fact of writing this mark under the rests, as it is in FE, does not exclude its validity from the beginning of the bar (possible examples of using such a manner – the Etude in C major, Op. 10 No. 1, bar 45 or in G, Op. 10 No. 5, bars 34-35).  

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

issues: Errors in GE , Authentic corrections of FE , Authentic corrections of GE , Centrally placed marks , Authentic corrections of EE