mUltimate Chopin

Op. 64 No 2, Waltz in C♯ minor

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b. 72

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

As

AI

A (→FE→GE,EE)
..

As has two versions in this place; we assume that the second one, written over the staff of the main course of music and identical to the final version of bar 88, is intended for this exact bar. The first version is also a result of corrections – cf. the note to bar 69.

category imprint: Differences between sources; Corrections & alterations

issues: Main-line changes

b. 75-76

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

g & g in As, A & GE

g & g in AI

g & chord in FE (→EE)
..

Three versions of the accompaniment prove that Chopin would be looking for the best harmonic and rhythmic formula for these bars. The process lasted until the last moment, since the version adopted in the main text, with a sustained chord, was introduced by the composer only in the final stage of proofreading of FE (→EE). He also hesitated – in A one can see deletions proving several corrections whose final result was a version identical with the original one, written in As, whereas AI has a different text too.

category imprint: Differences between sources; Corrections & alterations

issues: Chopin's hesitations , Authentic corrections of FE

b. 77-80

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

As

AI

A (→FE→GE,EE)
..

The version of As undoubtedly gives way to both later ones, which, actually, differ only in two elements – the rhythm of the melody in bar 77 and the number of touches in the part of the L.H. in bar 79. The same as in bar 71, the change of rhythm in bar 77 could have been introduced in A as a correction of the earlier rhythm of the crotchets.

category imprint: Differences between sources; Corrections & alterations

issues: Accompaniment changes , Main-line changes

b. 77

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

e1 on 3rd beat in As

e1 on 2nd beat in AI & A (→FE→GE,EE)
..

Moving the moment of introducing e1 after e1 is another change of this type – cf. bar 66 and 70. However, in this place, Chopin eventually opted for an earlier introduction of the altered note.

category imprint: Differences between sources; Corrections & alterations

b. 79-80

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

..

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