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b. 1-4
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composition: Op. 64 No 1, Waltz in D♭ major
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The addition in FED – trill 4 bars – probably means a variant of beginning the Waltz in a way similar to the return of the main section from bar 69. We give each of the variants – four- and eight-bar – in the version with fingering, written also in FED, or without. As starts right away with accompaniment, which corresponds with bar 5 of the version of later autographs and editions. category imprint: Differences between sources issues: Annotations in teaching copies , Annotations in FED , Authentic post-publication changes and variants , Main-line changes , Differences in form |
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b. 1
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composition: Op. 64 No 1, Waltz in D♭ major
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Chopin dedicated the published Waltz to Countess Delfina Potocka, including an appropriate entry in A (→FE→#EEW; in #EEW her surname was misprinted as "Potacka"). It is unclear why the dedication was overlooked in GE and EEC – in spite of a collective cover for three (in EEC – two) Waltzes, it could have been placed, e.g., on the first page of the note text. In the case of GE, it could have been caused by a possible absence of cover in the proof copy of FE, being the base for GE, since the dedication in FE was placed only on the cover. In the remaining, presentation autographs of the Waltz Chopin did not place any dedicatory notes. category imprint: Differences between sources issues: Dedications |
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b. 5-6
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composition: Op. 64 No 1, Waltz in D♭ major
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A comparison of the versions of As and AI allows to assume an intermediate stage, in which the melody in these bars already had the form written in AI, yet still without the four-bar introduction without accompaniment. In AI, the introduction, appearing for the first time, has a form of a preview of the actual beginning of the theme, which simply repeats the first three bars. In the final version, the entire "run-up," in which the four-quaver, ostinato figure develops, is moved to the introduction, which consequently organically combines with the theme, without any caesura. category imprint: Differences between sources; Corrections & alterations issues: Main-line changes |
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b. 5-9
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composition: Op. 64 No 1, Waltz in D♭ major
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In the early autographs the return of the first section of the Waltz is marked in an abbreviated manner as Dal Segno. Particular manuscripts place this sign (segno) in different places, depending on the version of transition from the middle section: In As, in order to present all written down versions of accompaniment in bars 21-36, in the version "editors" we do not include this manner of notation of the reprise and we write bars 77-108 in extenso. category imprint: Differences between sources; Editorial revisions; Source & stylistic information |
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b. 5-28
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composition: Op. 64 No 1, Waltz in D♭ major
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All dynamic signs were introduced by Chopin only at the time of preparing the Waltz for publication – they are absent both in As and in the presentation autographs (AI, AII, AIII). In the subsequent notes, we do not discuss the absence of these indications in the aforementioned autographs at all. Similarly in the case of pedalling. category imprint: Differences between sources; Corrections & alterations |
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