Issues : Main-line changes
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b. 1-4
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composition: Op. 64 No 1, Waltz in D♭ major
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The addition in FED – trill 4 bars – probably means a variant of beginning the Waltz in a way similar to the return of the main section from bar 69. We give each of the variants – four- and eight-bar – in the version with fingering, written also in FED, or without. As starts right away with accompaniment, which corresponds with bar 5 of the version of later autographs and editions. category imprint: Differences between sources issues: Annotations in teaching copies , Annotations in FED , Authentic post-publication changes and variants , Main-line changes , Differences in form |
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b. 5-6
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composition: Op. 64 No 1, Waltz in D♭ major
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A comparison of the versions of As and AI allows to assume an intermediate stage, in which the melody in these bars already had the form written in AI, yet still without the four-bar introduction without accompaniment. In AI, the introduction, appearing for the first time, has a form of a preview of the actual beginning of the theme, which simply repeats the first three bars. In the final version, the entire "run-up," in which the four-quaver, ostinato figure develops, is moved to the introduction, which consequently organically combines with the theme, without any caesura. category imprint: Differences between sources; Corrections & alterations issues: Main-line changes |
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b. 13-14
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composition: Op. 64 No 1, Waltz in D♭ major
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The earlier autographs prove Chopin's ongoing quest concerning the smartest and most suggestive formula for the idea of a thread unfolding from a spinning ball. The idea – according to the testimony of Wilhelm von Lenz* – was suggested to the pupils by Chopin himself, using the words "it should be unfolding as [a thread] from a ball". Only in the final version, the melody, both in bars 5-7 and 13-15, has a homogeneous, smoothly "unfolding" form, without less or more evident sustentions (as it is in As and AI) or references to the initial phase of creation of an ostinato, spinning figure (as it is in AII and AIII). * W. von Lenz, Uebersichtliche Beurtheilung der Pianoforte-Kompositionen von Chopin [...], "Neue Berliner Musikzeitung" 18 IX 1872. category imprint: Differences between sources; Corrections & alterations issues: Chopin's hesitations , Main-line changes |
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b. 21-23
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composition: Op. 64 No 1, Waltz in D♭ major
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The part of the R.H. in bars 21 and 23 is written in As in two versions of an unidentified purpose. In the suggested reconstruction of the sketch we place the original, six-quaver version for the first time (bars 21 and 23), whereas the later, which starting from the presentation autographs became the only one, for the second time (bars 29 and 31). category imprint: Differences between sources; Corrections & alterations issues: Main-line changes |
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b. 22
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composition: Op. 64 No 1, Waltz in D♭ major
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In the version of As, with g category imprint: Differences between sources; Corrections & alterations issues: Main-line changes |
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