mUltimate Chopin

Op. 64 No 2, Waltz in C♯ minor

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b. 81

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

D in As & A (→FE→GE,EE)

d in AI
..

D in As is written as an alternative version of the 1st crotchet in bar 65, on the staff below (cf. the note on bar 65). In this section of the Waltz, all such alternative entries were most probably intended for diversification of the repetition of the written out bars 65-80 as bars 81-96.

category imprint: Differences between sources

issues: Accompaniment changes

b. 81-82

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

Chords in As & AI

Sixths & d in A (→FE→GE,EE)
..

In both earlier manuscripts, the accompaniment in these bars is a repetition of the version of bars 65-66. Eventually, Chopin replaced the chords with dyads and added a touch at the beginning of bar 82. The latter was probably aimed at avoiding the stoppage of an audible rhythmic pulsation in the face of the introduction of the syncopation in the melody.

category imprint: Differences between sources; Corrections & alterations

issues: Accompaniment changes

b. 82-83

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

e2 repeated in As & AI

e2 tied in A (→FE→GE,EE)
..

The tie of e2 appears only in the version prepared for print, probably in relation to rhythmic changes in the previous bar.

category imprint: Differences between sources; Corrections & alterations

issues: Main-line changes

b. 82-83

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

Chords in As

Chords & fifths in AI

a on 3rd beat in A (→FE→GE,EE)
..

Just like in analogous bars 66-67, Chopin gradually reduced the number of played notes; he also moved the moment the a note appears by a crotchet.

category imprint: Differences between sources; Corrections & alterations

issues: Accompaniment changes

b. 83

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

a1 in As & A (→FE→GE,EE)

c2 in AI
..

The fact that As includes a version compliant with the version prepared for print (particularly in the next bar), although AI has a different version, undoubtedly earlier, can be explained twofold:

  • some of the corrections in As were introduced already after having written AI;
  • AI presents the piece in a possibly simple form, intentionally devoid of major complications, both technical and musical, e.g. rhythmic. It could have been motivated by the fact that the autograph was intended for an amateur pianist. 

category imprint: Differences between sources; Corrections & alterations

issues: Main-line changes