mUltimate Chopin

Op. 64 No 1, Waltz in D♭ major

Text Compare Notes Sources Description

Issues : Authentic corrections of FE

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. 20

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

e, chord & A in As, literal reading

e & 2 chords in As, contextual reconstruction

Minim a & 2 fifths in AI & AII

Crotchet a & 2 fifths in AIII

Crotchet a, fifth & A in A (→FE→GE,EE)
..

In this bar, the differences between the presentation autographs and the final version result from the need for a smooth transition with the next bar, in which Chopin used a different version of accompaniment, while writing autographs-gifts and yet another one, while preparing the Waltz for print. Therefore, the presented variants may be rationally used only with a corresponding version of bars 21-24. The notation of As is problematic, as Chopin did not write a version of bar 20 which would combine with the tenor-linear version of the L.H., written in the sketch as second and adopted in our reconstruction of As – see bars 21-24 – at all. We assume that the situation implies repetition of the version of bars 9, 11 and 18.

Moreover, it seems to be incomprehensible why the correction of the version of As, which is clear in A, was not initially included by the engraver of FE neither in this bar nor in its repetition in the reprise, as a result of which it had to be redone in the proofreading of this edition. It suggests adding changes in A already after having engraved FE, probably at the time of proofreading. Cf. Polonaise in E minor, Op. 26 No. 1, bar 20.

category imprint: Differences between sources; Corrections & alterations

issues: Corrections in A , Accompaniment changes , Authentic corrections of FE

b. 34

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

a1 in As, AI, AII, AIII & FE (→GE,EE)

a1 in A
..

A has a  before the last quaver. Chopin deleted it in the proofreading of FE (→GE,EE). Since a1 was also in all previous autographs, the temporary presence of a1 indicates Chopin's hesitation (unless it is a mistake).

category imprint: Differences between sources; Corrections & alterations

issues: Chopin's hesitations , Authentic corrections of FE

b. 41

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

a-g1 in FE (→EEC,EEW1)

a-c1-g1 in AI, AII, AIII, GE & EEW2
..

On the 2nd and 3rd crotchet AI, AII, AIII, A, GE include a–c1–g1 chords. Chopin deleted c1 in the last proofreading of FE (→EEC,EEW1). The notes were returned in EEW2, most probably after comparison to GE.

category imprint: Differences between sources; Corrections & alterations

issues: EE revisions , Authentic corrections of FE

b. 50

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

c (with pedal) in AI, A & GE

c (no pedal) in AII & AIII

C in FE (→EE)
..

Chopin lowered the bass by one octave in the last proofreading of FE (→EE).

category imprint: Differences between sources; Corrections & alterations

issues: Authentic corrections of FE , Bass register changes