mUltimate Chopin

Op. 64 No 2, Waltz in C♯ minor

Text Compare Notes Sources Description

Issues : Errors in FE

b. 68-69

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

No ties nor slur in As & AI

Ties & slur in A

Mistaken ties in FE

No b & mistaken slur in GE1op

Ties in GE1no2 (→GE2no2) & EEC

Mistaken slurs in EEW1 (→EEW2)

No b in GE2op (→GE3op)
..

In bar 68 and at the beginning of bar 69 all the autographs concord as to which L.H. notes should be struck. However, only in A Chopin notated the tied notes and a slur over the bass progression. FE notated erroneously a tie and a slur starting in bar 68 which ends the line in this edition. These errors resulted in no edition presenting the correct notation. Moreover, GE1op (→GE2op→GE3op) omitted the note b  at the beginning of bar 69.

category imprint: Differences between sources; Corrections & alterations

issues: EE revisions , Errors in FE , GE revisions , Accompaniment changes

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. 92-93

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

As

AI

A (→FE→GE,EE)
..

The visible evolution of the accompanying part generally consisted in an each time earlier introduction of the diminished seventh chord – in As on the last beat of bar 93, in AI – a crotchet earlier, in the version intended for print – already in bar 92. In both earlier autographs, the bars are an exact repetition of bars 76-77 (also in the melodic line); in turn, in the final version, Chopin clearly differentiated between the mood of the phrase's climax – for the first time, the diminished chord naturally introduces a D major cadence; for the second time, the harmonic course is dramatically suspended on this chord, whereas the descending phrase in the R.H. carefully avoids any associations with the D major key.
In FE, there is no  raising g1 to g1 in bar 93, which became necessary after a 5th flat in the key signature was added – cf. bars 64-96. The inadvertence was corrected in EE. The sign was added – unnecessarily – also in GE2no2.

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

issues: EE revisions , Errors in FE , GE revisions , Accompaniment changes

b. 103-104

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

 in A

No sign in FE (→EE,GE1op,GE1no2)

Longer  in GE2op (→GE3op) & GE2no2
..

The absence of  in FE (→EE,GE1op,GE1no2) is certainly an oversight. The sign was added in later GE, placing its beginning 2 quavers earlier.

category imprint: Differences between sources

issues: Errors in FE , Scope of dynamic hairpins , GE revisions

b. 106

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

g-c1-e1 in As, A (→FE→EE) &i GE2op (→GE3op)

g-e1 in AI, GE1op & GE1no2 (→GE2no2)
..

Same as in bar 42, the triad version of the majority of the editions, reproducing – perhaps inaccurately – the difficult to decipher notation of A, is, according to us, most probably erroneous.

category imprint: Interpretations within context; Differences between sources

issues: Errors in FE , Errors in GE , GE revisions