mUltimate Chopin

Op. 64 No 2, Waltz in C♯ minor

Text Compare Notes Sources Description

Issues : Authentic corrections of FE

b. 32

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

c in As, AI, A & GE

C in FE (→EE)
..

The change of c to C is certainly a result of Chopin intervention in the last phase of proofreading of FE (→EE). Similarly in bar 160.

category imprint: Differences between sources; Corrections & alterations

issues: Accompaniment changes , Authentic corrections of FE , Bass register changes

b. 39

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

Slur from 1st quaver in A, GE & EE

Slur from 2nd quaver in FE
..

It is not clear how the shift of the beginning of the slur in FE occurred – one may assume Chopin's proofreading, yet an erroneous interpretation of A by the engraver seems to be much more likely, perhaps provoked by the shape of the left ending of the handwritten slur. Starting the slur from the beginning of the bar is supported by the slur beginning in analogous bar 55. A comparison with this bar could have contributed to leaving out the version of FE by GE and EE based on it. Similarly in bars 103 and 167.

category imprint: Differences between sources

issues: Inaccuracies in GE , Inaccuracies in FE , EE inaccuracies , Authentic corrections of FE

b. 45-61

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

a-d1 on 2nd beat in As, contextual interpretation

f-a-d1 on 2nd beat in AI, contextual interpretation

a-d1 on 3rd beat in A & GE

a-d1-a1 on 3rd beat in FE (→EE)
..

The crotchet specifying the sound of the Neapolitan chord in bars 45 and 61 underwent a several-stage-long evolution from As to the corrected version of FE (→EE). Both the content of the chord (dyad) and the moment of its strike was changed. In the main text, we give the latest version, introduced in the last phase of proofreading of FE. The version of As is not unequivocal – we assume that there is no f note there, which ensures a possibility of choice of any of the undoubtedly or potentially authentic source versions.

The naturals lowering d1 to d1 are present only in the editions (we give a sign of an unknown origin made in pencil in AI in brackets), yet the part of the R.H. does not leave any doubt as to the use of the Neapolitan chord.

Similarly in bars 109 and 125, see also bars 173 and 189.

category imprint: Interpretations within context; Differences between sources; Corrections & alterations

issues: Omission of current key accidentals , Authentic corrections of FE , Last key signature sign , Inaccuracies in A

b. 64

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

..

In A Chopin introduced here only a four-flat key signature. He rectified his mistake in the last proofreading of FE (→EE); however, the misleading notation remained without correction in GE. Interestingly enough, AI includes the correct notation,  whereas in As, in spite of the fact that the change of key before the D major section is not marked at all, the absence of flats before most of the g notes and the presence of naturals before g suggests a five-flat key signature.

category imprint: Differences between sources; Source & stylistic information

issues: Errors of A , Authentic corrections of FE , Last key signature sign

b. 65-96

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

..

In A (→GE), the entire section is written in a four-flat key signature. In the proofreading of FE (→EE), Chopin changed the notation to the one compliant with D major, prevailing in this section. AI also includes the correct notation with five flats. The notation of As, in which there is no key signature for this section, does not allow us to clearly answer the question whether Chopin considered flats before g notes to be necessary or not – he wrote them in bars 68-70 and 79-80 and omitted in bars 71-76. Considerable evidence of uncertainty surrounding the number of signs in the key signature can be found in the notation of, e.g. the Mazurkas in G minor, op. 33 no. 1 or in C minor, op. 63 no. 3, and less tangible – also in many other situations in various compositions.

Since the difference does not have any impact on the sound of music, and the notation with five flats, more convenient for the reader, was eventually introduced by Chopin, we adopt it as the only one and we do not record differences in notation resulting from the distinct number of flats in the key signature. The original notation of A and GE is conveyed by their versions "transcription".  

category imprint: Differences between sources; Source & stylistic information

issues: Chopin's hesitations , Errors of A , Authentic corrections of FE , Last key signature sign