mUltimate Chopin

Op. 64 No 1, Waltz in D♭ major

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b. 69-76

composition: Op. 64 No 1, Waltz in D♭ major

Slur over 8 bars in AI & A (→FE→GE,EE)

Slur from quavers in AII & AIII
..

In the presentation autographs Chopin was undecided how to lead the slur over these bars – in AI he embraced with it already the initial trill, however, in the next two, the slurs begin only from the quavers in bar 73. Eventually, Chopin returned to the initial concept of a slur over the entire link. The slur of AII, interpreted literally, does not suggest a link with the further part (repetition of bar 5), which, taking into account the continuous slur in bars 1-10, has to be considered to be an inaccuracy of notation.

category imprint: Differences between sources; Corrections & alterations

issues: Chopin's hesitations

b. 71-75

composition: Op. 64 No 1, Waltz in D♭ major

No indications in AI, AII & AIII

 in A (→FE→GE,EE)
..

The cresc. indication inside a several-bar long  sign was added by Chopin, while preparing the Waltz for publication – it is absent in the previous autographs. The issue of the range of the  hairpin – see bar 75.

category imprint: Differences between sources

b. 73-74

composition: Op. 64 No 1, Waltz in D♭ major

Ostinato quavers in AI, AIII & A (→FE→GE,EE)

End of trill & quavers in AII
..

Same as the four-bar introduction, also the eight-bar link before the reprise was materialised only at the stage of presentation autographs. Its second part, after the trill, features the most original, as it seems, form in AII. If the chronology of the autographs proposed on the basis of comparison of the texts is correct, it would imply Chopin's hesitation.

category imprint: Differences between sources; Corrections & alterations

issues: Chopin's hesitations

b. 75-76

composition: Op. 64 No 1, Waltz in D♭ major

..

The several-bar long  sign is written inaccurately in A – the upper arm is a one and a half bar shorter. We adopt the range of the bottom arm to be meaningful. In FE the sign was led only to the end of bar 75, which is probably a result of a mistake – the sign reaches the end of the line, whereas  from bar 77 was placed already in bar 76. See the next note, as well as bars 71-75.

category imprint: Graphic ambiguousness; Differences between sources

issues: Scope of dynamic hairpins , Inaccuracies in A

b. 76

composition: Op. 64 No 1, Waltz in D♭ major

No markings in AI, AII, AIII, FE (→EE) & GE2Db→GE3Db→GE4Db)

End of  in A

 in GE1Db & GE1op→GE2op→#GE3op)
..

 in this bar is a result of a mistake of the engraver of FE, corrected only in the last phase of proofreading. The erroneous sign, repeated in GE1op and GE1Db, was removed in subsequent editions, yet only in the version with single Waltzes. The range of the  hairpin – see the previous note.

category imprint: Interpretations within context; Differences between sources

issues: Errors in FE , GE revisions , Authentic corrections of FE