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Op. 64 No 2, Waltz in C♯ minor

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b. 92-93

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

As

AI

A (→FE→GE,EE)
..

The visible evolution of the accompanying part generally consisted in an each time earlier introduction of the diminished seventh chord – in As on the last beat of bar 93, in AI – a crotchet earlier, in the version intended for print – already in bar 92. In both earlier autographs, the bars are an exact repetition of bars 76-77 (also in the melodic line); in turn, in the final version, Chopin clearly differentiated between the mood of the phrase's climax – for the first time, the diminished chord naturally introduces a D major cadence; for the second time, the harmonic course is dramatically suspended on this chord, whereas the descending phrase in the R.H. carefully avoids any associations with the D major key.
In FE, there is no  raising g1 to g1 in bar 93, which became necessary after a 5th flat in the key signature was added – cf. bars 64-96. The inadvertence was corrected in EE. The sign was added – unnecessarily – also in GE2no2.

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

issues: EE revisions , Errors in FE , GE revisions , Accompaniment changes

b. 93-96

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

As, first version

As, 2nd version

As, 3rd version & AI, contextual interpretation

As, 4th version

A (→FE→GE,EE)
..

Four versions of these bars written in As illustrate the evolution of the concept of the ending of this section. The catalyst for change was, as it seems, the harmonic course – from a simple replacement of the final tonic chord with its minor version in the first edition, through a three-bar modulation with the use of a characteristic leading chord (it can be interpreted as, e.g. an altered f-a-c-e subdominant) in the second one, to the suspension of the harmonic course on the diminished seventh chord in the last two (see also the note on bars 92-93).

As far as the melodic line is concerned, the major transformation took place in the last two bars. Chopin started from repeating the phrase from bars 77-80, with a change only in the last bar, having a nature of a connecting episode with the beginning of the refrain. In the next versions, the changes appear each time earlier; one can also see that two elements, which then contributed to the final version – leading the phrase to g1, and not g2, and the descending diminished seventh f2-g1 (written initially as e2-g1) – were already in the second version, yet Chopin then transitionally resigned from the seventh. It is also worth noting that both versions of the melody used in the finished editions of the piece (AI and the published version) are already included in As. 

Due to the lack of indication of the conclusive version, we assume the earliest version to be the text of As.
In the second of the given variants, we take into account two slurs in the L.H., which, due to major differences between particular editions of the accompanying part, are to be applied only in this version. 

category imprint: Differences between sources; Corrections & alterations

issues: Chopin's hesitations , Accompaniment changes , Main-line changes

b. 97

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

g2 in As, 1. version

g1 in As (other versions), AI & A (→FE→GE,EE)
..

This bar is present in As in two versions, out of which only the second one is written out in a draft manner. The existence of the first version results from the ending of the previous section, whose earliest version leads to a non-written down repetition of bar 33. It means that the 1st note in bar 97 in this version is a g2. Like in the previous bars, we give the earliest version as the text of As. The second written down version is a continuation of the 2nd version of the ending of the previous section; in this version, the 1st quaver is a g1, like in the remaining sources (it is the default version also in the 3rd and 4th versions of bars 94-96).  

category imprint: Differences between sources; Corrections & alterations

b. 97

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

..

In AI, Chopin wrote five sharps in the key signature while marking the return to the C minor key. He would commit such mistakes on several occasions, even in published pieces (versions) – cf. bars 65-96.

category imprint: Differences between sources

issues: Errors of A , Last key signature sign

b. 97

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

Three-note chords in As

Fifths in AI & A (→FE→GE,EE)
..

In the 2nd version of the ending of the D major section written in As, bar 97 was also sketched. In the part of the L.H., the first two crotchets were written – we assume that the third one is a repetition of the second one, like in all remaining versions of the Waltz. At the same time, the use of the seventh chord g-d1-f1 instead of the g-d1 fifth draws attention – according to us, the version was envisaged only as a continuation of the characteristic harmonic progression of the 2nd version of bars 94-96 (contrary to the version of the R.H., which is certainly binding also in the 3rd and 4th versions).

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