mUltimate Chopin

Op. 64 No 1, Waltz in D♭ major

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b. 108-124

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

..

In this bar our reconstruction of As ends – see the characterization of this source.

category imprint: Source & stylistic information

b. 109

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

No marking in AI & GE

in A (→FE→EE)
..

The absence of  in both forms of GE, typeset independently, may mean that the indication was initially overlooked in FE, in which it was then added in the last phase of proofreading. It is even more likely, considering the fact that an identical situation concerns the accent in the previous bar.

category imprint: Differences between sources

issues: Errors in FE , FE revisions

b. 113

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

No pedalling in A (→FE→GE,EEC)

Pedalling in EEW1 (→EEW2)

Our variant suggestion
..

category imprint: Differences between sources

issues: EE revisions

b. 120-121

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

Chopin's fingering in FED

Chopin's fingering in FES

No teaching fingering
..

In the main text we give the fingering written in FES, most probably indicated by Chopin. The second digit was added in FED too.

category imprint: Differences between sources

issues: Annotations in teaching copies , Annotations in FED , Annotations in FES

b. 123

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

Mark of synchronization in FED

No mark in remaining sources
..

The sign added in FED, indicating the manner of synchronising the grupetto in the R.H. with the accompaniment in the L.H., means that the first 18 notes of the grupetto are to be understood as quaver triplets, whereas the last six – as normal quavers, as in bars 35 and 107. It is unknown whether it was the only performance option accepted by Chopin.

category imprint: Differences between sources

issues: Annotations in teaching copies , Annotations in FED , Synchronization markings