mUltimate Chopin

Op. 64 No 2, Waltz in C♯ minor

Text Compare Notes Sources Description

Issues : GE revisions

b. 68-69

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

Slur to f1 in AI & FE (→GE1op,GE1no2,EEC)

Slur to g1 in A, EEW1 (→EEW2), GE2op (→GE3op) & GE2no2
..

The slur of AI reflects the original assumptions underlying the phrasing – it encompasses exactly 4 bars. In A, Chopin encompassed the entire first phrase with a slur, which, however, was not precisely reproduced in FE (→GE1op,GE1no2,EEC), perhaps due to the line of the text ending in bar 68. In subsequent editions, the slur was extended according to the musical sense.

category imprint: Differences between sources; Corrections & alterations

issues: EE revisions , Inaccuracies in FE , GE revisions

b. 69

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

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

No slur in GE2no2
..

In GE2no2, the slur over the part of the L.H. was omitted; it could have been considered superfluous after the g1 note had been moved to the lower staff (in A and in the remaining editions, it is on the upper staff).

category imprint: Differences between sources

issues: GE revisions

b. 70

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

Version in As, suggested contextual reconstruction

AI

A (→FE→EE,GE1op→GE2op→GE3op) & GE2no2

No tie to g1 in #GE1 no2
..

The interpretation of the notation of the part of the L.H. in As is not obvious. According to us, Chopin, writing three crotchets in bar 70, wrote the only moving voice, hence we suggest a natural addition compliant with the previous bar and analogous to the triad version written out with notes in bar 66 as the version "editors". Subsequent changes consisted in reducing the number of notes (dyads in AI) and delaying the entrance of the b note in A and in the editions.
The missing tie of g1 in bars 69-70 must be a result of an oversight of the engraver of GE1no2.

category imprint: Differences between sources; Corrections & alterations

issues: Errors in GE , GE revisions , Accompaniment changes

b. 71-72

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

No ties in As, AI & GE1op (→GE2op→GE3op)

c1 tied in A (→FE→GE1no2,EE)

c1-g1 tied in FES & GE2no2
..

The sources give no clear idea as regards sustaining or repeating the fifth c1-g1 in the L.H. In As and AI, both here and in the analogous bars 87-88 it is repeated at the beginning of the second bar. In A (→FE→GE1no2,EE) only a tie sustaining c1 is written what seems to be an oversight – in FES Chopin pencilled a tie to g1 as well. In GE1op (→GE2op→GE3op) both ties were omitted, maybe after the analogous bars 87-88. GE2no2 includes the version adopted in our main text.

category imprint: Differences between sources

issues: Annotations in teaching copies , Errors in GE , GE revisions , Annotations in FES

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