Pitch
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b. 85-86
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composition: Op. 64 No 2, Waltz in C♯ minor
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In the final version, the new phrase begins later, and it is more clearly separated from the previous one with the help of rests and slurring. It constitutes a good example of the evolution of the concept of phrasing of the entire section of the Waltz. category imprint: Differences between sources; Corrections & alterations |
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b. 86
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composition: Op. 64 No 2, Waltz in C♯ minor
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As far as the accompaniment is concerned, the only difference between AI and the version prepared for print is b category imprint: Differences between sources; Corrections & alterations issues: Accompaniment changes |
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b. 88
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composition: Op. 64 No 2, Waltz in C♯ minor
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In AI, the bar is identical to bar 72, although As already includes the final version (without the little slur before the group of grace notes). It can indicate Chopin's hesitation, yet it cannot be excluded that resignation from differentiating between the version of both bars is an element of striving for simplicity due to the piano skills of Baroness de Rothschild, who was the addressee of the manuscript. Cf. bar 84. category imprint: Differences between sources; Corrections & alterations issues: Chopin's hesitations |
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b. 89
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composition: Op. 64 No 2, Waltz in C♯ minor
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Both in As and AI Chopin diversified this bar with respect to the version of bar 73 (differently in each of them). In A (→FE→GE,EE), bars 73 and 89 are identical, which, in the face of differences in the previous bars, does not create an impression of homogeneity at all. In turn, the version introduces a clear division between the phrases, absent in the earlier versions. category imprint: Differences between sources; Corrections & alterations issues: Main-line changes |
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b. 91
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composition: Op. 64 No 2, Waltz in C♯ minor
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In all autographs, the bar is identical to analogous bar 75. A minor difference in the sound of the chord on the 2nd beat of the bar may prove Chopin's hesitation (cf. the note on bar 83). category imprint: Differences between sources; Corrections & alterations issues: Chopin's hesitations |
, tied from the previous bar. In turn, 
