mUltimate Chopin

Op. 64 No 2, Waltz in C♯ minor

Text Compare Notes Sources Description

Issues : GE revisions

b. 79-80

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

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There is no  before the top most note of the chord in bar 79 in A (→GE1op), necessary before g1 due to the notation in the four-flat key signature. The sign was added in the remaining GE. In bar 80, Chopin did not write a  before the lowest note of the last chord in A. The sign, although only cautionary in this context, is undoubtedly justified in this place and it was added in GE.

category imprint: Interpretations within context; Differences between sources

issues: GE revisions , Omission of current key accidentals , Inaccuracies in A

b. 84-85

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

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The slur over the three-note, chromatic progression of bass is only in the version prepared for print. In GE2no2, it was omitted, probably seeing in it a distorted tie of b.

category imprint: Differences between sources; Corrections & alterations

issues: GE revisions , Accompaniment changes

b. 85-86

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

Pedalling in A (→FE→GE1no2,EEW1→EEW2)

No markings in GE1op (→GE2op→GE3op)

Pedalling in EEC

Pedalling in GE2no2
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The  sign in A is placed clearly after the 1st crotchet in the L.H., which, as it seems, was accurately reproduced in FE (→GE1no2,EEW1→EEW2). Chopin probably wanted to preserve the sound of the e bass note, yet he also wanted to avoid the mixture of the melodic semitones of the triplet in the R.H., which can be achieved by pressing the pedal only on the last note of the triplet. In EEC and GE2no2, the notation was considered to be inaccurate, in turn, in GE1op (→GE2op→GE3op) the indications were generally omitted, probably due to an oversight. 

category imprint: Differences between sources

issues: Errors in GE , GE revisions , EE inaccuracies

b. 88-89

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

No pedalling in A (contextual interpretation→FE→EE,GE1no2,GE,op)

Pedalling in bar 89 in GE2no2

Pedalling suggested by the editors
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The only pedalling indication in these bars in A is the  sign at the end of bar 89. A second could have been a  sign, probably deleted at the beginning of bar 88. It is not easy to indicate how it occurred that this incomplete notation was left. Considering that none of three actions – introducing signs in bars 88 and 89 and deleting the sign in bar 88 – was performed by mistake, one can conclude that Chopin wanted to resign from the pedalling in bar 88 in favour of the pedal in bar 89. The version was introduced – certainly not by analysing A – in GE2no2. It can be considered an alternative with respect to the version of the main text, suggested by us, including both the pedal in bar 88 on the basis of analogy with bar 72 and the one in bar 89.

category imprint: Interpretations within context; Differences between sources

issues: GE revisions , Errors of A , FE revisions

b. 88

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

 in A (→FE→EEC)

 in GE1op & GE1no2 (→GE2no2)

No sign in EEW1 (→EEW2)

 in GE2op (→GE3op)
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The  hairpin, in A and in the majority of the editions placed under the three-note progression of the bass, was moved to between the staves in GE2op (→GE3op). In this case, this quite frequently used revision completely changed the meaning of the sign. In the remaining GE, the sign was reproduced in the correct place, however, it starts already under the 1st crotchet in the bar. The absence of the sign in EEW is undoubtedly an oversight.

category imprint: Differences between sources

issues: Inaccuracies in GE , Placement of markings , Scope of dynamic hairpins , Errors in EE , GE revisions