mUltimate Chopin

Op. 64 No 2, Waltz in C♯ minor

Text Compare Notes Sources Description

Issues : EE revisions

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. 106

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

No markings in FE (→GE1op,GE1no2,EEC)

Pedalling in A, EEW1 (→EEW2), GE2op (→GE3op) & GE2no2
..

The lack of pedalling in FE (→GE1op,GE1no2,EEC) is certainly a mistake.

category imprint: Differences between sources

issues: EE revisions , Errors in FE , GE revisions

b. 131

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

 in A

 in FE

 in GE1op & GE1no2

 in EE, GE2op (→GE3op) & GE2no2

 suggested by the editors
..

In the main text we unify the range of the  hairpins in bars 131-132 and 135-136 on the basis of the notation of A in bar 3 and 7-8. The signs in FE begin earlier and in the remaining editions they were extended even more: in GE1op and GE1no2 on the right-hand side, in the remaining – on the left-hand side.

category imprint: Differences between sources

issues: EE revisions , Inaccuracies in FE , GE revisions

b. 138-139

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

..

EEW1 and GE1no2 overlooked the  hairpin. It is probably an oversight (in the case of EEW1 almost certainly – the signs were overlooked also in bars 140-141 and 142-144). The signs were added in EEW2 and GE2no2.

category imprint: Differences between sources

issues: EE revisions , Errors in EE , Errors in GE , GE revisions

b. 140-141

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

 in A (probable interpretation→FE→EEC) & GE2no2

 in A, possible interpretation

No sign in GE1op, GE1no2 & EEW1

 in GE2op (→GE3op) & EEW2
..

The interpretation of the range of  in A – see bar 13. The solution adopted by us finds confirmation in the notation of FE (→EEC), being probably a result of a proofreading, a Chopin one. It is indicated by the absence of the hairpin both in GE1op and GE1no2, which makes us assume that it was originally absent in FE too. In turn, the missing sign in EEW1 is certainly an oversight – the hairpin was overlooked also in adjacent bars 138-139 and 142-144.

category imprint: Differences between sources

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