mUltimate Chopin

Op. 64 No 2, Waltz in C♯ minor

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b. 85-86

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

Slurs in AI, literal reading

Slurs in AI, contextual interpretation

Slur in A (→FE→GE,EE)
..

We consider the fact of leaving the g1 minim without a slur in AI to be an inaccuracy of notation, similar to the one visible in bar 75. The phrasing of the version intended for print corresponds to natural divisions between the phrases, marked by rests. Since the slurrings of AI and A are closely related to the rhythmic structure of the phrases, corresponding variants are included in the note on bars 84-86, dedicated to various variants of the melody.

category imprint: Graphic ambiguousness; Differences between sources; Corrections & alterations

issues: Inaccurate slurs in A

b. 85-86

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

Notes in As & AI

Rests in A (→FE→GE,EE)
..

In the final version, the new phrase begins later, and it is more clearly separated from the previous one with the help of rests and slurring. It constitutes a good example of the evolution of the concept of phrasing of the entire section of the Waltz.

category imprint: Differences between sources; Corrections & alterations

b. 85-88

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

..

In AI, the slur begins a bar earlier than in the version prepared for print, from the g2 crotchet. The ending of the slur also falls earlier in this manuscript, at the end of bar 88. Since the slurring of both versions is strictly related to the shape of the melodic line, corresponding variants are included in the note concerning this issue.

category imprint: Differences between sources; Corrections & alterations

b. 86

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

As, suggested contextual interpretation

AI

A (→FE→GE,EE)
..

As far as the accompaniment is concerned, the only difference between AI and the version prepared for print is b, tied from the previous bar. In turn, As, in which the bar is a repetition of bar 70, has most probably three chords in this place (the first tied from the previous bar) – see the note on bar 70.

category imprint: Differences between sources; Corrections & alterations

issues: Accompaniment changes

b. 88-89

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

No pedalling in A (contextual interpretation→FE→EE,GE1no2,GE,op)

Pedalling in bar 89 in GE2no2

Pedalling suggested by the editors
..

The only pedalling indication in these bars in A is the  sign at the end of bar 89. A second could have been a  sign, probably deleted at the beginning of bar 88. It is not easy to indicate how it occurred that this incomplete notation was left. Considering that none of three actions – introducing signs in bars 88 and 89 and deleting the sign in bar 88 – was performed by mistake, one can conclude that Chopin wanted to resign from the pedalling in bar 88 in favour of the pedal in bar 89. The version was introduced – certainly not by analysing A – in GE2no2. It can be considered an alternative with respect to the version of the main text, suggested by us, including both the pedal in bar 88 on the basis of analogy with bar 72 and the one in bar 89.

category imprint: Interpretations within context; Differences between sources

issues: GE revisions , Errors of A , FE revisions