mUltimate Chopin

Op. 64 No 1, Waltz in D♭ major

Text Compare Notes Sources Description

Issues : Accompaniment changes

b. 24

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

Minim d1 & 2 crotchets in As

Crotchet d1 & 2 crotchets in AI

Minim d1 & crotchet in AII

Crotchet d1 & crotchet in AIII

Crotchet d & sixth in A (→FE→GE,EE)

Crotchet d, sixth & chord in As, alternative version, probable interpretation

Crotchet d & 2 sixths in As, alternative version, possible interpretation

Crotchet d, sixth & crotchet d in As, another alternative version
..

The bar has a different form in each of the previous autographs. The differences concern the rhythmic value of the first d1 and the crotchet – or its absence – on the 3rd beat of the bar. The given variants (the first four) cannot be combined with the main text in the note to bars 21-24, i.e. the version of these bars included in A (→FE→GE,EE). In turn, the last four variants given here apply to that version – the main text (conveyed by A and the editions) and alternative versions written in the first scheme of As (see the next note). On the other hand, the variants cannot be combined with the version of bars 21-24 included in the previous autographs.

category imprint: Differences between sources; Corrections & alterations

issues: Chopin's hesitations , Accompaniment changes

b. 24

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

..

In the sequence including the final version of the L.H. in bars 21-24 As has a g-b-f1 chord on the 3rd beat of bar 24. It is undoubtedly an inaccuracy, however, it is not entirely clear what Chopin intention was:

  • an a-b-f1 chord;
  • an a-f1 sixth – the g note could have been written as an inaccurate "correction" of the erroneous b.

Moreover, after the discussed crotchet Chopin wrote a small crotchet d. It is probably another alternative version of the 3rd beat of the bar in this version of accompaniment.

The variants resulting from the above analysis of As are given in the previous note.

category imprint: Differences between sources; Corrections & alterations

issues: Chopin's hesitations , Accompaniment changes

b. 25

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

d1-e1-b1 in As, AII & AIII

b-d1-e1 & G in AI, alternative version in As

b-e1 in A (→FE→GE,EE)
..

From the very beginning, the version of the 2nd crotchet reaching to b1 seems to be associated with the "tenor" version of bars 21-24, present accordingly in the presentation autographs. However, Chopin was not entirely consistent, as in AI he used in bar 25 a narrower position of the L.H., which, in turn, could have been associated with playing G on the 3rd beat of the bar. In any case, in the sources there is not any juxtaposition of two wider positions in bars 24-25, practically resulting in a parallel shift of chords.

category imprint: Differences between sources; Corrections & alterations

issues: Chopin's hesitations , Accompaniment changes

b. 26

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

2 triads in As & AI

Sixth in AII

Triad in AIII & A (→FE→GE,EE), alternative version in As
..

category imprint: Differences between sources; Corrections & alterations

issues: Chopin's hesitations , Accompaniment changes

b. 27

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

e in chords in As

No e in remaining sources
..

The present in As e notes in the chords on the 2nd and 3rd beat of the bar do not appear in any of the later sources. It cannot be excluded that writing the remaining three components of these chords in bold type de facto meant a planned resignation from these sounds already at the stage of working on As. It is even more likely considering the fact that in the sketch one can see the change of the 4th quaver in the R.H. from g1 to e1, which most probably determined the deletion of e from the accompaniment.

category imprint: Differences between sources; Corrections & alterations

issues: Accompaniment changes , Main-line changes