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Op. 64 No 2, Waltz in C♯ minor

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b. 3-8

composition: Op. 64 No 2, Waltz in C♯ minor

Different length  in A

Longer  in FE (→GE,EE)

Shorter  suggested by the editors
..

In the main text we unify the reach of the  hairpins in bars 3-4 and 7-8, following three out of four signs written in A. In FE1 the signs were unified too, however, it was the sign beginning slightly earlier in bar 4 that was adopted as the model.

category imprint: Interpretations within context; Differences between sources

issues: Inaccuracies in FE , Scope of dynamic hairpins

b. 3-19

composition: Op. 64 No 2, Waltz in C♯ minor

..

In the main text we add a cautionary  before f1 in bar 3 and 19. In GE2no2 both signs were added, in GE3op – only in bar 19.

category imprint: Differences between sources; Editorial revisions

issues: GE revisions

b. 3-24

composition: Op. 64 No 2, Waltz in C♯ minor

Quaver in As

Rest & semiquaver in AI & A (→FE→GE,EE)
..

On the 2nd beat in bars 3-4, 7-8, 19-20 and 23-24 As has two quavers in the R.H. In bars 3-4 and 7-8 the rhythm was probably written initially in AI too, Chopin, however, added there rests and semiquaver ties of the final version (it is proved by spaces between the notes).

category imprint: Differences between sources; Corrections & alterations

issues: Corrections of AI

b. 4-20

composition: Op. 64 No 2, Waltz in C♯ minor

e1 & c1 in As, 1. version

f1 & c1 in AI

f1 & d1 in As, 2. version
or
f1 & d1 in A (→FE→GE,EE)
..

As includes two written versions of bar 4 – in the main course of the text it features the version with e1 as the bottom note of all dyads in the R.H. and the g-c1 fourth as the 2nd crotchet in the L.H. and above one can see the version with f1 and the g-d1 fifth. Bar 20 is not written out in As, hence it is meant to be the same as bar 4. We adopt the first, undoubtedly earlier, version to be the text of As, since the second became the final one (not including the rhythm). It cannot be excluded that the second version was added not in the first phase of writing the Waltz, yet later, even after having written AI, in which the part of the L.H. still conserved its original shape (the g-c1 fourth), whereas in the part of the R.H. in bar 4 one can see a correction from the original version.  

category imprint: Differences between sources; Corrections & alterations

issues: Corrections of AI

b. 4

composition: Op. 64 No 2, Waltz in C♯ minor

No pedalling in A (→FE→EE,GE1no2,GE1op→GE2op→GE3op)

Pedalling in #FE2no2

Our suggestion
..

According to us, the absence of pedalling in this bar in A is a result of Chopin's temporary uncertainty on whether and how to mark it, when the harmony changes on the 3rd beat of the bar. It is the first situation of this kind in the Waltz and the composer temporarily considered, as it seems, to sustain the bass note c with hand, like in bar 12 – the visible deletion most probably concerned the c minim. One can assume that the final version could be the pedalling of analogous bar 20, written already after having found a satisfactory solution in bars 8 and 10. Therefore, in the main text we suggest this pedalling; a respective addition was introduced already in GE2no2. 

category imprint: Differences between sources; Editorial revisions

issues: GE revisions