mUltimate Chopin

Op. 64 No 2, Waltz in C♯ minor

Text Compare Notes Sources Description

Issues : GE revisions

b. 12-13

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

No slur in AI

Slur from bar 12 in A (contextual interpretation)

Slur from bar 13 in FE (→EE,GE1op,GE1no2)

Slur from beginning of bar 12 in GE2op (→GE3op) & GE2no2
..

On the available photocopy of A, the slur in bar 12 starts from the 3rd quaver. We shift the beginning one quaver earlier, analogously to bar 10. In FE (→EE,GE1op,GE1no2) the slur starts – undoubtedly erroneously – only in bar 13, however in bar 140, based on the notation of bar 12 in A, the slur of FE begins exactly on the 2nd quaver of the bar, which supports the solution we adopted. In later GE, the starting point of the slur was moved to the beginning of bar 12, most probably by analogy to the notation of bars 140-141 in GE.

category imprint: Differences between sources

issues: Errors in FE , GE revisions

b. 13

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

 in A (probable interpretation) & GE2no2

 in A, possible interpretation

 in FE (→EEC,GE1no2,GE1op→GE2op→GE3op)

in EEW
..

The range of the  hairpin written in A is unclear – the top arm seems to be much longer than the bottom one. The respective sign in FE (→EEC, the majority of GE) perhaps corresponds to the range of the bottom arm of the hairpin of A. In the main text, we suggest an averaged range of the sign, which then leads to the topmost note of the melody; a similar length of the sign is also – as a result of revision – in GE2no2. Alternatively, one can take into account the top arm, written probably first – such a longer hairpin determines the peak of crescendo practically at the beginning of the next bar. The lack of continuation of the sign in bar 13 in EEW results almost certainly from the division into great staves – in this edition bar 13 opens a new line.

category imprint: Graphic ambiguousness; Differences between sources

issues: Inaccuracies in FE , Scope of dynamic hairpins , GE revisions , EE inaccuracies , Inaccuracies in A

b. 17-18

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

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

Shorter  in GE2no2
..

The  hairpin in A is slightly longer than in bars 1-2 and 3-4, which was reproduced in all editions except for GE2no2. In the latter, the signs are clearly shorter in all analogous bars.

category imprint: Differences between sources

issues: Scope of dynamic hairpins , GE revisions

b. 20

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

Pedalling in A

 FE (→EE) & GE2no2

Pedalling in GE1op & GE1no2

No pedalling in GE2op (→GE3op)
..

No pedalling indications in this bar is most probably a result of revision of GE2op (→GE3op), aiming at unifying bar 4 and 20. As far as the placement of the  sign is concerned, it is only the version of A that is authentic, the remaining are most probably a result of a routine interpretation of indications by engravers or simply an inaccuracy in reproducing the base text. 

category imprint: Differences between sources

issues: Inaccuracies in GE , Inaccuracies in FE , GE revisions

b. 21-22

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

 in A, EEw1 (→EEW2) & GE2op (→GE3op)

 in FE (→GE1op,GE1no2)

 in EEC & GE2no2
..

The  hairpin was inaccurately reproduced in the editions – already in FE (→GE1op,GE1no2) the sign is clearly shorter, which in the remaining editions was subject to further distortions or revisions. The compatibility of the sign's range in A and GE2op (→GE3op) and EEW is a result of overlapping of arbitrary, yet contrary changes.

category imprint: Differences between sources

issues: Inaccuracies in FE , Scope of dynamic hairpins , GE revisions , EE inaccuracies