mUltimate Chopin

Op. 64 No 2, Waltz in C♯ minor

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Rhythm

b. 72-89

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

No ties nor slur in As & AI

Tied c1 & slur in A

Slurs in FE (→EE,GE1no2,GE1op→GE2op→GE3op)

Tied c1 in GE2no2
..

In bars 72-73 and 88-89, we reproduce the slurs of A in the main text. In FE and in the majority of the remaining editions (except for GE2no2), both slurs were reproduced inaccurately – the top one combined g1 in bar 72 (88) with c1 in bar 73 (89), whereas the bottom one – c1 with f. As a result, the c1 minim is not sustained in the editions. The mistake was corrected only in GE2no2.
In the previous autographs, c1 in bar 72 (88) is a crotchet, whereas, at the beginning of the next bar, there is no note at this pitch. In bar 88 in A (→FE→GE1op,GE1no2,EEC,EEW1), there is no dot extending the c1 minim, which, together with the tie sustaining this note to the next bar, must be an inaccuracy. In the remaining editions, the dot was added. 

category imprint: Differences between sources

issues: EE revisions , Errors in FE , GE revisions , Inaccuracies in A

b. 73

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

Crotchet f in As & AI

Minim f in A (→FE→EE,GE1no2,GE1op→GE2op→GE3op))
..

In the version prepared for print, Chopin gave the bass f the value of a minim. In GE2no2, it was extended with a dot. Interestingly, a corresponding change is absent in analogous bar 89.

category imprint: Differences between sources; Corrections & alterations

issues: GE revisions

b. 73-74

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

Grace note & minim in As, contextual interpretation

Grace note & tied minim in AI

Crotchets in A (→FE→GE,EE)
..

Three versions of the melody in this place illustrate well the general tendency of transformations the phrasing of this section of the Waltz underwent – see the note on bar 69.

category imprint: Differences between sources; Corrections & alterations

issues: Main-line changes

b. 75-76

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

d3 repeated in As, AI & A (→FE→EEC,EEW1)

d3 tied in GE & EEW2
..

The authenticity of the tie sustaining d3 in GE is likely, yet not unequivocal. Due to this fact, in the main text we give the version with a repeated note, which does not raise any doubts. Moreover, one has to take into consideration that the version with the sustained d3 appears only in the sources that have the previous version of the accompaniment, which makes that, according to us, its possible use together with the final version of the L.H. is highly problematic. Similarly in bars 91-92.  

category imprint: Differences between sources

issues: EE revisions , GE revisions , Authentic corrections of GE

b. 76-77

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

d3 repeated in As, AI & A (→FE→EE)

d3 tied in GE & FED
..

Same as in bars 66-67 and 70-71, both source versions of the melody at the transition between the bars are almost certainly authentic. In the main text, we give a version with a repeated d3, written in the basic source, A (→FE→EE). Similarly in bars 92-93.
GE1no2 erroneously puts the tie between the two notes in bar 76 (a "mirror" mistake).

category imprint: Differences between sources; Corrections & alterations

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