mUltimate Chopin

Op. 64 No 2, Waltz in C♯ minor

Text Compare Notes Sources Description
Select: 
Category
All
Graphic ambiguousness
Interpretations within context
Differences between sources
Editorial revisions
Corrections & alterations
Source & stylistic information
Notation
All
Pitch
Rhythm
Slurs
Articulation, Accents, Hairpins
Verbal indications
Pedalling
Fingering
Ornaments
Shorthand & other
Importance
All
Important
Main
Undo Clear

b. 70

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

Version in As, suggested contextual reconstruction

AI

A (→FE→EE,GE1op→GE2op→GE3op) & GE2no2

No tie to g1 in #GE1 no2
..

The interpretation of the notation of the part of the L.H. in As is not obvious. According to us, Chopin, writing three crotchets in bar 70, wrote the only moving voice, hence we suggest a natural addition compliant with the previous bar and analogous to the triad version written out with notes in bar 66 as the version "editors". Subsequent changes consisted in reducing the number of notes (dyads in AI) and delaying the entrance of the b note in A and in the editions.
The missing tie of g1 in bars 69-70 must be a result of an oversight of the engraver of GE1no2.

category imprint: Differences between sources; Corrections & alterations

issues: Errors in GE , GE revisions , Accompaniment changes

b. 71-72

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

No ties in As, AI & GE1op (→GE2op→GE3op)

c1 tied in A (→FE→GE1no2,EE)

c1-g1 tied in FES & GE2no2
..

The sources give no clear idea as regards sustaining or repeating the fifth c1-g1 in the L.H. In As and AI, both here and in the analogous bars 87-88 it is repeated at the beginning of the second bar. In A (→FE→GE1no2,EE) only a tie sustaining c1 is written what seems to be an oversight – in FES Chopin pencilled a tie to g1 as well. In GE1op (→GE2op→GE3op) both ties were omitted, maybe after the analogous bars 87-88. GE2no2 includes the version adopted in our main text.

category imprint: Differences between sources

issues: Annotations in teaching copies , Errors in GE , GE revisions , Annotations in FES

b. 71-88

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

Tied minim e in As

Crotchet e in AI

e-b in A (→FE→GE,EE)
..

We consider the b (b?) crotchet visible in As at the beginning of bar 71 to be crossed out; it is also absent in AI. Eventually, Chopin restored it in this place, yet only as an echo of the note played in the previous bar. In As, a longer hold of the bass e is also noteworthy, abandoned in subsequent sources. The same in bars 87-88 where this figure is repeated. 

category imprint: Differences between sources; Corrections & alterations

issues: Accompaniment changes

b. 71

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

Crotchets in As & AI

Dotted rhythm in A (→FE→GE,EE)
..

Replacing even values with a dotted rhythm is one of the most frequently encountered rhythmic diversifications in Chopin's music. All notes in the R.H. are placed in A exactly above the crotchets in the L.H., which may mean that Chopin introduced this diversification already after having written the earlier version, as a correction (similarly, in bar 77).

category imprint: Differences between sources; Corrections & alterations

issues: Dotted or even rhythm

b. 72

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

Pedalling in A (→FE→EE)

No pedalling in GE
..

The absence of pedalling in GE is undoubtedly a mistake, however, it could have been committed still in FE, in which the indications were then added in the last phase of proofreadings.

category imprint: Interpretations within context; Differences between sources

issues: Errors in GE , Authentic corrections of FE