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Op. 64 No 2, Waltz in C♯ minor

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b. 8-24

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

..

In bars 8 and 24 there are no accidentals in the part of the L.H. in the autographs. In bar 8 FE added – perhaps at Chopin's request – a cautionary  before d, which was repeated in all editions. In GE and EEW2 a similar addition was performed in bar 24.

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

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

b. 8-24

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

c1 ×3 in As, 1st version, probable reading

d1 ×3 in As, 2nd version, contextual interpretation

d1-d1-c1 in As, 1st version, possible reading,
or
d1-d1-c1 in AI

d1-c1-c1 in A (→FE→GE,EE)
..

In bar 8 the version of the R.H. adopted by us as the text of As (written in the main course of the text's line of As) is partially hypothetical, since the 1st quaver is blurred, whereas in the second the bottom note is unclear. One can consider the version of AI (excluding the rhythm) to be an alternative interpretation of this notation. The second of the given versions of As is written over the R.H. and under the L.H. of the first, probably with an intention to choose one of them later. In the version prepared for print, Chopin opted for an intermediate version in the R.H., in which d1 appears only in the 1st quaver, while in the L.H. he returned to the original version. The absence of  before d1 in the alternative version of As is a patent inaccuracy – the sign is in the previous bar.

In bar 24 all sources feature the same versions as in bar 8.

category imprint: Differences between sources; Corrections & alterations

issues: Chopin's hesitations

b. 9-25

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

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In bars 9, 11 and 25 in the part of the L.H. in As there is only the bass. We suggest an addition on the basis of the remaining sources.

category imprint: Source & stylistic information

b. 9-25

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

..

The deletion in As in the R.H. embraces the entire 3rd beat of bar 9, so that it is uncertain what Chopin wanted to write there. However, it seems to be highly unlikely that it were the g1 crotchet, as in the remaining sources – it is indicated by the preserved tie sustaining g1 and the version of analogous bar 11. No dot sustaining b is certainly an inaccuracy, perhaps a remaining element of a previous version with a strike on the 3rd beat of the bar. The same applies to bar 25, which is not written out in As.

category imprint: Corrections & alterations

b. 10

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

c in As & AI

f in A (→FE→GE,EE)
..

The version of AI, most probably written also in As, was then abandoned still before writing A. Among the hypothetical reasons of the change one can name:

  • avoiding oblique tones of c1-c and c-c2;
  • diversifying the harmonic progression – semi-tone transitions appear both two bars earlier and two bars later.

category imprint: Differences between sources; Corrections & alterations

issues: Accompaniment changes