mUltimate Chopin

Op. 64 No 2, Waltz in C♯ minor

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b. 42

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

g-c1-e1 in As & A (→FE→EE,GE1no2,GE1op→GE2op→GE3op)

g-e1 in AI & GE2no2
..

On the photographs of A available to us, it is impossible to state whether on the 2nd and 3rd beats of the bar there are c1 notes or not. We assume, in accordance with the editions, that the notes are visible in this place, however, on the basis of analysis of all twelve analogous bars, we consider the version with triads to be most probably erroneous. The following scenarios are possible: 

  • accidental merging of note stems with ledger lines, looking like notes;
  • Chopin's erroneous introduction of the original version from the draft;
  • omission of the correction of the original version in A (in analogous bar 58 one can see deletions-corrections of respective crotchets in A) and FE.

Similarly in bars 106 and 170.

category imprint: Graphic ambiguousness; Interpretations within context; Differences between sources

issues: Errors in FE , Uncertain notes on ledger lines

b. 44-60

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

a-c1 in As

e-c1 & rest in AI

e-c1 in A (→FE→GE,EE)
..

The version of As in bar 44 (and bar 60, which is its repetition) is hypothetical to a certain extent – we assume that the inkblot at the pitch of e is a blurred deletion of this note. In AI Chopin introduced a rhythmic innovation – a rest on the 3rd beat of the bar, however, eventually, he used both variants of the rhythm as an element differentiating bars 33-48 and 49-64: three crotchets in bar 44 and two in bar 60. Cf. bar 49 and 53.

category imprint: Differences between sources; Corrections & alterations

issues: Accompaniment changes

b. 45-61

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

a-d1 on 2nd beat in As, contextual interpretation

f-a-d1 on 2nd beat in AI, contextual interpretation

a-d1 on 3rd beat in A & GE

a-d1-a1 on 3rd beat in FE (→EE)
..

The crotchet specifying the sound of the Neapolitan chord in bars 45 and 61 underwent a several-stage-long evolution from As to the corrected version of FE (→EE). Both the content of the chord (dyad) and the moment of its strike was changed. In the main text, we give the latest version, introduced in the last phase of proofreading of FE. The version of As is not unequivocal – we assume that there is no f note there, which ensures a possibility of choice of any of the undoubtedly or potentially authentic source versions.

The naturals lowering d1 to d1 are present only in the editions (we give a sign of an unknown origin made in pencil in AI in brackets), yet the part of the R.H. does not leave any doubt as to the use of the Neapolitan chord.

Similarly in bars 109 and 125, see also bars 173 and 189.

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

issues: Omission of current key accidentals , Authentic corrections of FE , Last key signature sign , Inaccuracies in A

b. 45-64

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

Shorter  in A & GE1op (→GE2op→GE3op)

Longer  in FE (→EE,GE1no2→GE2no2)
..

The  hairpin in bars 45-48 is only in the version prepared for print; in FE the sign begins earlier than in A. The remaining editions convey the version of FE more or less accurately – in GE1op the signs are slightly shorter, almost the same as in A, while in EE and GEno2 they are slightly longer. Since the exact differences are of no practical meaning here, we divide them into two groups, corresponding with the range either to the sign in A or in FE.
In bars 61-64 the hairpin is absent in the previous manuscripts, there are also no differences in the length of the sign in the remaining sources.

category imprint: Differences between sources; Corrections & alterations

issues: Inaccuracies in GE , Inaccuracies in FE , Scope of dynamic hairpins

b. 45-62

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

..

In As there are no naturals before d2, g2 and d3 in bars 45-46. In spite of the fact that in the L.H. there is no  before d1 as well, the pitch of these notes, intended by Chopin, compatible with later sources (which include naturals) can be deduced from the notation – the presence of sharps before g2 (bar 46) and d3 (bar 47) proves that:

  • the previous notes are g2 and d3 respectively;
  • Chopin considered here the sound of g2 and d3 to be more obvious than g2 and d3, which leads to the conclusion that in bar 45 he had to hear d1 and d2.

Similarly in bars 61-62, being in As a repetition, not written out, of bars 45-46.

category imprint: Interpretations within context; Differences between sources

issues: Omission of current key accidentals , Last key signature sign