mUltimate Chopin

Op. 64 No 2, Waltz in C♯ minor

Text Compare Notes Sources Description

Issues : EE inaccuracies

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. 65-93

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

..

The pedalling is only in the version prepared for print – As and AI have no indications. In the main text, we reproduce the notation of A. In the editions, the  signs were placed inaccurately in many situations, e.g., in bars 66, 70 and analog. after the 3rd crotchet or under it instead before. Other, more significant differences are discussed separately – cf. bars 72, 73, 75-76, 85-86 and 88-89.

category imprint: Differences between sources; Corrections & alterations

issues: Inaccuracies in FE , EE inaccuracies

b. 85-86

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

Pedalling in A (→FE→GE1no2,EEW1→EEW2)

No markings in GE1op (→GE2op→GE3op)

Pedalling in EEC

Pedalling in GE2no2
..

The  sign in A is placed clearly after the 1st crotchet in the L.H., which, as it seems, was accurately reproduced in FE (→GE1no2,EEW1→EEW2). Chopin probably wanted to preserve the sound of the e bass note, yet he also wanted to avoid the mixture of the melodic semitones of the triplet in the R.H., which can be achieved by pressing the pedal only on the last note of the triplet. In EEC and GE2no2, the notation was considered to be inaccurate, in turn, in GE1op (→GE2op→GE3op) the indications were generally omitted, probably due to an oversight. 

category imprint: Differences between sources

issues: Errors in GE , GE revisions , EE inaccuracies

b. 89-92

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

  in A (→FE→EEC,GE1op,GE1no2→GE2no2)

  in EEW1 (→EEW2)

  in GE2op→GE3op)
..

In the majority of the editions, the range of hairpin in these bars was reproduced exactly after A (→FE). The only exceptions are EEW1 (→EEW2), in which the  begins only in bar 90, and GE2op (→GE3op), in which the entire sign was moved a crotchet earlier; moreover, the next dynamic hairpin, in bars 91-92, was shortened.

category imprint: Differences between sources

issues: GE revisions , EE inaccuracies

b. 97-98

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

No slurs in As

Slur in AI

Slurs in A & EE

Slurs in FE (→GE)
..

In As there are no slurs in these bars, whereas in AI a slur – unclear – is written only in bar 98, being a repetition of bar 34. In the main text, we give the slurs of A, since their authenticity – despite quite a careless notation – seems to be unquestionable. The slurs of FE (→GE) may be a result of Chopin's proofreading, yet, due to the lack of visible traces of performing changes in print, it is not certain. How it occurred that all EE include, accordingly, a version different from the version of FE, what is more, identical with the text of A, remains unclear.

category imprint: Graphic ambiguousness; Interpretations within context; Differences between sources

issues: Inaccuracies in FE , EE inaccuracies