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
Rhythm
All
Pitch
Rhythm
Slurs
Articulation, Accents, Hairpins
Verbal indications
Pedalling
Fingering
Ornaments
Shorthand & other
Importance
All
Important
Main
Undo Clear

Rhythm

b. 66-71

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

Repeated notes in As, AI & A (→FE→EE)

Tied notes in GE & FED
..

Both source versions of the melody at the transition between bars 66 and 67 and 70 and 71 are almost certainly authentic. In the main text, we give an unequivocally authentic version with repeated e2 and f2 notes written in the base source, A (→FE→EE). The version with sustained notes – FED and GE – can be considered an equal variant.

category imprint: Differences between sources; Corrections & alterations

issues: Annotations in teaching copies , Annotations in FED , GE revisions , Authentic corrections of GE

b. 68-69

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

No ties nor slur in As & AI

Ties & slur in A

Mistaken ties in FE

No b & mistaken slur in GE1op

Ties in GE1no2 (→GE2no2) & EEC

Mistaken slurs in EEW1 (→EEW2)

No b in GE2op (→GE3op)
..

In bar 68 and at the beginning of bar 69 all the autographs concord as to which L.H. notes should be struck. However, only in A Chopin notated the tied notes and a slur over the bass progression. FE notated erroneously a tie and a slur starting in bar 68 which ends the line in this edition. These errors resulted in no edition presenting the correct notation. Moreover, GE1op (→GE2op→GE3op) omitted the note b  at the beginning of bar 69.

category imprint: Differences between sources; Corrections & alterations

issues: EE revisions , Errors in FE , GE revisions , Accompaniment changes

b. 69

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

Minim in As

Dotted minim in AI

Crotchet in A (→FE→GE,EE)
..

In the previous autographs, the melodic note has a longer rhythmic value, not including the touches in the L.H. The crotchet in the version prepared for print is written more realistically; however, according to us, it is the evolution of the concept of phrasing, from regular four-bar sections to a much more free structure, with an extended first phrase and more distinct breaths, marked with rests, before correspondingly moved subsequent phrases, that is more important than the issue of overlapping hands. The slurs also correspond to the changes of phrasing – in AI the slur begins from g1 in bar 69, whereas in A and in the editions – from g2 in bar 70. 

category imprint: Differences between sources; Corrections & alterations

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