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Op. 64 No 2, Waltz in C♯ minor

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b. 73

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

Crotchet f in As & AI

Minim f in A (→FE→EE,GE1no2,GE1op→GE2op→GE3op))
..

In the version prepared for print, Chopin gave the bass f the value of a minim. In GE2no2, it was extended with a dot. Interestingly, a corresponding change is absent in analogous bar 89.

category imprint: Differences between sources; Corrections & alterations

issues: GE revisions

b. 73-74

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

Grace note & minim in As, contextual interpretation

Grace note & tied minim in AI

Crotchets in A (→FE→GE,EE)
..

Three versions of the melody in this place illustrate well the general tendency of transformations the phrasing of this section of the Waltz underwent – see the note on bar 69.

category imprint: Differences between sources; Corrections & alterations

issues: Main-line changes

b. 75-76

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

g & g in As, A & GE

g & g in AI

g & chord in FE (→EE)
..

Three versions of the accompaniment prove that Chopin would be looking for the best harmonic and rhythmic formula for these bars. The process lasted until the last moment, since the version adopted in the main text, with a sustained chord, was introduced by the composer only in the final stage of proofreading of FE (→EE). He also hesitated – in A one can see deletions proving several corrections whose final result was a version identical with the original one, written in As, whereas AI has a different text too.

category imprint: Differences between sources; Corrections & alterations

issues: Chopin's hesitations , Authentic corrections of FE

b. 75-76

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

d3 repeated in As, AI & A (→FE→EEC,EEW1)

d3 tied in GE & EEW2
..

The authenticity of the tie sustaining d3 in GE is likely, yet not unequivocal. Due to this fact, in the main text we give the version with a repeated note, which does not raise any doubts. Moreover, one has to take into consideration that the version with the sustained d3 appears only in the sources that have the previous version of the accompaniment, which makes that, according to us, its possible use together with the final version of the L.H. is highly problematic. Similarly in bars 91-92.  

category imprint: Differences between sources

issues: EE revisions , GE revisions , Authentic corrections of GE

b. 75-76

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

No  in A

 in FE (→EE,GE1no2,GE1op→GE2op→GE3op)

Two pedals in GE2no2

[] suggested by the editors
..

The absence of the  asterisk after  at the beginning of bar 75 in A is probably a result of corrections of the part of the L.H. in both discussed bars – cf. bars 75-76. It is highly likely that the  sign in A was written at the end of bar 75, whereas the bass note at the beginning of bar 76 was a g. Return to g and other changes made Chopin delete this sign, however, no other was introduced instead. In FE (→GE,EE) the sign was reinstated in the place where Chopin deleted it, which suggests that it was a routine revision activity. The need for a longer sustention of pedal is supported by, according to us, the change introduced in the proofreading of FE, as a result of which the repetition of the bass note in bar 76 was eliminated. In this case, in the main text we do not include the  sign in FE, concerning another version, but we suggest holding the pedal until the end of bar 76.
The new pedal in bar 76 is an arbitrary addition of the reviser of #GE3no2. 

category imprint: Differences between sources; Editorial revisions; Corrections & alterations

issues: FE revisions