mUltimate Chopin

Op. 64 No 1, Waltz in D♭ major

Text Compare Notes Sources Description
Select: 
Category
All
Graphic ambiguousness
Interpretations within context
Differences between sources
Editorial revisions
Corrections & alterations
Source & stylistic information
Pitch
All
Pitch
Rhythm
Slurs
Articulation, Accents, Hairpins
Verbal indications
Pedalling
Fingering
Ornaments
Shorthand & other
Importance
All
Important
Main
Undo Clear

Pitch

b. 62-68

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

As, 1st version

As, 2nd version

Later version
..

In these bars, AI continues a phrase which was shaped clearly differently than in the subsequent sources. At the same time, from bar 64 two versions are recorded, both deleted, out of which one is closer to the final version, particularly in terms of harmony. In the version editors we give, however, the second one, as from the notation of the sketch it results that it was written later than the first one. The version cannot be reasonably combined with the variants, concerning the pitch and rhythm, of the later version, e.g., in bars 66 and 67.

category imprint: Differences between sources; Corrections & alterations

issues: Chopin's hesitations

b. 66

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

Crotchet e in As, AI, AII & AIII

Rest in A (→FE→GE,EE)
..

In the previous sources, the bass note e was played also in this bar. In A one can see traces of several modifications of the accompaniment in this place, whereas the last deleted version included E at the beginning of the bar. The full version of As – see bars 62-69.

category imprint: Differences between sources; Corrections & alterations

issues: Chopin's hesitations

b. 67

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

A & c1-g1 in As & AIII

a-c1-g1 in AI

Crotchets a & c1-g1 in AII

Minim a & c1-g1 in A (→FE→GE,EE)
..

In this bar the accompaniment evolved through a few versions. Chopin started from the version of AIII, written in As as the first one. The next one was probably the second entirely different version of As (see bars 62-69), rejected – deleted – still at the stage of writing the sketch. In AI and AII two versions were tested, already very close to the one that was finally accepted in A and editions.

category imprint: Differences between sources; Corrections & alterations

issues: Chopin's hesitations

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. 77-78

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

Trill & quavers in As

Quaver ostinato in AI & A (→FE→GE,EE)
..

The first two bars of the reprise in As present the idea of the introduction only in the initial phase, which was then developed starting from AI.

category imprint: Differences between sources; Corrections & alterations