mUltimate Chopin

Op. 64 No 2, Waltz in C♯ minor

Text Compare Notes Sources Description

Issues : Chopin's hesitations

b. 67

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

e2-d2 w As (1. version) & A (→FE→GE,EE)

e2-d2-c2 in As (2nd version→AI)
..

The version of AI is naturally earlier than the published version; however, the notation of As, in which both versions most probably overlap, suggests that it is the version of A that was created first. It results from the space between the notes – e2 and d2 fill the bar to the same extent as f2 and e2 in the previous bar. Then, willing to introduce a progression of three crotchets, Chopin simply added a c2. The corrections visible in the next two bars reveal also other changes in the second half of this phrase; therefore, it is likely that the continuation of the two-note version of this bar in As was different than in the final version (cf. the reconstruction of the earliest version of the melody in the note to bar 69). A correction in this place is visible also in A – the interpretation of the crossed-out text is actually impossible, but the range of the crossing-out suggests that two crotchets were removed, hence most probably the version of AI.  

category imprint: Differences between sources; Corrections & alterations

issues: Chopin's hesitations , Deletions in A , 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. 88

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

A (→FE→GE,EE)

AI
..

In AI, the bar is identical to bar 72, although As already includes the final version (without the little slur before the group of grace notes). It can indicate Chopin's hesitation, yet it cannot be excluded that resignation from differentiating between the version of both bars is an element of striving for simplicity due to the piano skills of Baroness de Rothschild, who was the addressee of the manuscript. Cf. bar 84.

category imprint: Differences between sources; Corrections & alterations

issues: Chopin's hesitations

b. 90

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

Dotted rhythm in As & A (→FE→GE,EE)

Crotchets in AI
..

The variant version of AI may prove Chopin's hesitation, as long as the dotted rhythm in As was not added later than AI was developed.

category imprint: Differences between sources; Corrections & alterations

issues: Chopin's hesitations , Dotted or even rhythm

b. 91

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

g1 in As & A (→FE→GE,EE)

b1 in AI
..

In all autographs, the bar is identical to analogous bar 75. A minor difference in the sound of the chord on the 2nd beat of the bar may prove Chopin's hesitation (cf. the note on bar 83).

category imprint: Differences between sources; Corrections & alterations

issues: Chopin's hesitations