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Op. 64 No 2, Waltz in C♯ minor

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b. 50-58

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

Triads in As

Triads & sixths in AI

Sixths in A (→FE→GE,EE)
..

In the autographs the 2nd and 3rd crotchets in the L.H. underwent in bars 50 and 58 a clear evolution – the uniform version of As (with g-c1-e1 triads) was replaced in AI with a differentiated version (g-e1 sixths in bar 50 and triads in bar 58). In A and in the editions Chopin left here only sixths. Similarly in bars 114 and 122.

category imprint: Differences between sources; Corrections & alterations

issues: Accompaniment changes

b. 50-51

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

Slur up to bar 50 in AI

Slur up to bar 54 in A (→FE→EE,GE1no2,GE1op→GE2op→GE3op)

Slur up to bar 64 in GE2no2
..

The slur of AI is interrupted in bar 50, same as in bars 33-34, of which bars 49-50 are a repetition, not written out with notes. In A (→FE→GE,EE) the slur runs further on, until the end of bar 54 (in GE2no2 it was arbitrarily combined with the next one and it was led until the end of this section in bar 64).

category imprint: Differences between sources

b. 53

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

Rest in As & AI

Fifth in A (→FE→GE,EE)
..

As and AI, in which bars 49-64 are not written out, have here the version with a rest on the 3rd beat of the bar, repeated after bar 37. The version with a repetition of the fifth, written in A and in the editions, was the first that Chopin wrote at all, since in As one can see a deletion of a fifth in this place. The Chopin intention of differentiating certain details of the accompaniment finds confirmation in a similar difference between bars 44 and 60.

category imprint: Differences between sources; Corrections & alterations

b. 54-55

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

..

In GE2no2 the slurs between bars 54-55 were combined, which is contrary to the notation of A and the remaining editions. Similarly in bars 118-119 and 182-183.

category imprint: Differences between sources

issues: GE revisions

b. 61-62

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

One-bar pedal in A (→FE→GE1op,GE1no2,EEC,EEW1)

Two-bar pedal in GE2op (→GE3op), GE2no2 & EEW2)
..

One can ponder whether the difference in pedalling between bars 45-46 and 61-62 was intended (deliberate) by Chopin and whether it is not a mere difference in the notation, as it sometimes happen in similar contexts. A clear differentiation of performance indications between bars 33-48 and 49-64 (other dynamics and slurring) demonstrates that it is an intentional difference, indicating varied approach to the pedalling in these pairs of bars. The revisers of later GE and EE had a different opinion, as they changed the pedalling of bars 61-62 after bars 45-46. Similarly in bars 125-126 and 189-190.

category imprint: Differences between sources

issues: EE revisions , GE revisions