mUltimate Chopin

Op. 64 No 2, Waltz in C♯ minor

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Pitch

b. 65

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

d in As & AI

D in A (→FE→GE,EE)
..

We assume that out of two notes written in As at the beginning of bar 65, d is intended for this bar, whereas D – for bar 81, which, like the entire second half of this section, is not explicitly written in the draft. AI features d in both bars, whereas the version intended for print – D in both bars.
The discussed d looks actually like a c in As; such inaccuracies were very frequent in Chopin's drafts. Due to this reason, in order not to divert attention from genuine textual differences, we do not reproduce this notation even in the version transcription, since the correct pitch of the note is undisputed. Analogously in similar situations.

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

issues: Inaccurate note pitch in A , Bass register changes

b. 66-67

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

Chords in As

Chords & fifths in AI

a on 3rd beat in A (→FE→GE,EE)
..

In the previous manuscripts, the a note appears already on the second beat of the bar (like the b note 4 bars later). The notation of As suggests that the original idea was even more regular – chords changed every bar: .

category imprint: Differences between sources; Corrections & alterations

issues: Accompaniment changes

b. 67

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

e2-d2 w As (1. version) & A (→FE→GE,EE)

e2-d2-c2 in As (2nd version→AI)
..

The version of AI is naturally earlier than the published version; however, the notation of As, in which both versions most probably overlap, suggests that it is the version of A that was created first. It results from the space between the notes – e2 and d2 fill the bar to the same extent as f2 and e2 in the previous bar. Then, willing to introduce a progression of three crotchets, Chopin simply added a c2. The corrections visible in the next two bars reveal also other changes in the second half of this phrase; therefore, it is likely that the continuation of the two-note version of this bar in As was different than in the final version (cf. the reconstruction of the earliest version of the melody in the note to bar 69). A correction in this place is visible also in A – the interpretation of the crossed-out text is actually impossible, but the range of the crossing-out suggests that two crotchets were removed, hence most probably the version of AI.  

category imprint: Differences between sources; Corrections & alterations

issues: Chopin's hesitations , Deletions in A , Main-line changes

b. 69-85

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

Chords in As

Sixths in AI

b & sixth in A (→FE→GE,EE)
..

The evolution of the accompaniment in bars 69 and 85 consisted in reducing the number of notes on the 2nd and 3rd beats of the bar – As features two triads, AI two sixths, whereas in A and in the editions, Chopin also omitted the top note in the first sixth.

category imprint: Differences between sources; Corrections & alterations

issues: Accompaniment changes

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