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Op. 64 No 2, Waltz in C♯ minor

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b. 13-16

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

No repeated notes in As

Repeated notes in AI & A (→FE→GE,EE)
..

The bars have two versions of the R.H. in As – the version known from the later sources, written first, and a second, added over the previous, with a clearly different shape of the melody. In turn, the part of the L.H. was not suggested in any way. We adopt the second version as the version of As, absent in any other source.

category imprint: Differences between sources; Corrections & alterations

b. 13-16

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

Triads in AI

Four-note chord & tritones in A (→FE→GE,EE)
..

In these bars As does not include the part of the L.H. at all. It does not seem that it would indicate rests, however, any attempt to add it would have been mere speculation. In this case, we leave these bars without text, as both the version of AI and the accompaniment eventually adopted in the published version may serve as an addition.

category imprint: Differences between sources; Corrections & alterations

issues: Accompaniment changes , Incomplete sources , Bass register changes

b. 15

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

No  in A

 in FE (→GE,EE)

() suggested by the editors
..

The absence of the  sign in A does not have to be considered to be a mistake – perhaps Chopin did not want to determine the moment of releasing pedal in a place in which most probably it is about gradually suppressing the sound (the so-called diminuendo pedal). The sign added in FE may be authentic, however, according to us, it is to be considered to be an orientation hint only – the pedal can be certainly held longer. In this case, taking into account a possibility of an arbitrary addition of  by the engraver or reviser, in the main text we suggest a solution encouraging the performer to creatively look for a way of releasing the pedal, offering the most satisfying dying away of the sound. Cf. the Etude in D major, Op. 25 No. 8, bars 19-20. 

category imprint: Interpretations within context; Differences between sources; Corrections & alterations

issues: Authentic corrections of FE , No pedal release mark

b. 16-17

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

Slur from 5th quaver in A (→FE→GE1no2,EEW1→EEW2)

Slur from 6th quaver in GE1op (→GE2op→GE3op) & GE2no2

No slur in EEC
..

An additional slur at the transition between bars 16 and 17 embraces in A the last two quavers in bar 16. In FE (→EE,GE1no2) it was reproduced in a slightly inaccurate manner (the slur begins already after the 5th quaver and it is placed too low), which probably resulted in an erroneous beginning of the slur from the 6th quaver in the remaining GE. The range of the slur in analogous bars 144-145, based on the same notation of A, does not raise any doubts in FE.

category imprint: Graphic ambiguousness; Differences between sources

issues: Inaccuracies in FE

b. 17-18

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

 in A (→FE→EE,GE1no2,GE1op→GE2op→GE3op)

Shorter  in GE2no2
..

The  hairpin in A is slightly longer than in bars 1-2 and 3-4, which was reproduced in all editions except for GE2no2. In the latter, the signs are clearly shorter in all analogous bars.

category imprint: Differences between sources

issues: Scope of dynamic hairpins , GE revisions