mUltimate Chopin

Op. 64 No 3, Waltz in A♭ major

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b. 47

composition: Op. 64 No 3, Waltz in A♭ major

..

In As (→A) there is no  next to c2, which, in this context, has to be considered an inaccuracy. The sign was added already in FE (→GE,EE).

category imprint: Differences between sources

issues: Cautionary accidentals , Authentic corrections of FE

b. 49

composition: Op. 64 No 3, Waltz in A♭ major

g1-g1 in A

f1-g1 in As & FE (→EE)

g1-a1 in GE
..

All three source versions are most probably authentic and prove the composer's hesitation and the quest for the smoothest formula for this motif. In the main text, we give probably the latest version of GE (the middle g1-a1 quavers), adding – after GE2op (→GE3op) and GE2Ab – a cautionary  before g1.

category imprint: Differences between sources; Corrections & alterations

issues: Authentic corrections of FE , Authentic corrections of GE

b. 51

composition: Op. 64 No 3, Waltz in A♭ major

..

In A there are no naturals raising d1 to d1 in the chords on the 2nd beat of bars 53 and 55. This patent inaccuracy was corrected already in FE (→GE,EE), perhaps at Chopin's request. 

category imprint: Interpretations within context; Differences between sources

issues: Omission of current key accidentals , Authentic corrections of FE , Inaccuracies in A

b. 57-60

composition: Op. 64 No 3, Waltz in A♭ major

d2 in A & GE

d2 in As & FE (→EE)
..

A includes a  before the 2nd quaver in bar 57. It means that – in spite of overseeing respective naturals in bars 58-59 – in the entire four-bar section Chopin heard a d2. The version was passed to GE through a proof copy of FE, where the missing naturals were added. While proofreading FE for the second time, Chopin changed the  in bar 57 to a , hence lowering the top most sounds in bars 57-60 to d2 (the version is present also in As, interpreted literally, in which there are no signs before these notes). A change of the part of the L.H. in bar 60 (see the note to this bar), introduced in GE, probably coming from Chopin, allows to suggest that also the naturals added in bars 58-59 may come from Chopin. Therefore, in the main text we give the version of A and GE, considering the differentiation introduced in FE (→EE) to be an equal variant.

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

issues: Omission of current key accidentals , Authentic corrections of FE , Authentic corrections of GE , Inaccuracies in A

b. 57-64

composition: Op. 64 No 3, Waltz in A♭ major

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The dashes delimiting the range of the crescendo are present only in A.

category imprint: Differences between sources

issues: Inaccuracies in FE