mUltimate Chopin

Op. 64 No 1, Waltz in D♭ major

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Ornaments

b. 12

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

No ornament in AI & GE1Db

 in remaining sources
..

The missing mordent is most probably an oversight of both AI and GE1Db.

category imprint: Differences between sources

issues: Errors in GE , GE revisions

b. 20

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

 in As, AI & A

 in AII, AIII & FE (→EE)

No ornament in GE
..

The sign in A over the 3rd quaver is not entirely legible (similarly in As and AI) – it reminds a  rather than a . FE (→EE) includes a , whereas in GE there is no ornament at all, which may suggest that the  in FE was introduced in the last proofreading. Taking into account this possibility and clear mordents in AII and AIII, in the main text we give a . Actually, in faster tempos both signs were used by Chopin interchangeably. Cf. bar 92.

category imprint: Graphic ambiguousness; Differences between sources

issues: Authentic corrections of FE , Inaccuracies in A

b. 53-61

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

No grace notes in As

Grace notes from bar 56 in AI

Grace notes from bar 53 in AII & AIII

Grace notes from bar 54 in A (→FE→GE,EE)
..

The a2 grace notes, as diversification of this phrase, appeared in the notation of the Waltz already after As had been finished (or Chopin did not see the need of adding them to the sketch). The presentation autographs prove Chopin's hesitation concerning the moment of introducing this effect. Starting from AII, the notation of the ornaments was enhanced through the introduction of little slurs combining them with the main notes.

category imprint: Differences between sources; Corrections & alterations

issues: Chopin's hesitations

b. 62-63

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

No grace notes in AI

No slurs in AI

Grace notes with slurs in remaining sources
..

No grace notes in As and little slurs, combining the grace notes with the main notes in AI, represents, according to us, the initial stage of shaping of the sound and graphical image of this phrase.

category imprint: Differences between sources; Corrections & alterations

b. 69-72

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

Four  with ties in AI & GE

 in AII 

 with ties in AIII

Four  with ties in A (→FE→EE)
..

In the main text we give the notation of the trills after A (→FE→EE; wavy lines in GE are – despite their compatibility with AI – most probably an arbitrary addition). One could have doubts concerning the fact of marking the four times repeated  sign, however, a comparison with the notation of the remaining autographs suggests that all mean the same: a continuous trill throughout four bars.
In As after bar 68 a counterpart of bar 77 follows. 

category imprint: Differences between sources