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Op. 64 No 2, Waltz in C♯ minor

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Pedalling

b. 1-32

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

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The previous autographs – As and AI – do not include pedalling indications. See the note on the tempo indication.

category imprint: Differences between sources; Corrections & alterations

b. 1-32

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

..

In A the  asterisks are put either after the 3rd crotchet in the bar (or a corresponding it rest) or before, depending on the fact whether the entire bar is based on the same chord or not. In FE the differentiation was lost – all signs are put either under or slightly after the 3rd crotchet (rest), whereas the differences are not related to the notation of A (or – consequently – to the harmony). The remaining editions reproduce the version of FE more or less accurately, although in GE the signs are generally placed after the 3rd crotchet, while in EE – rather below. In our transcriptions of particular sources, we assume that the asterisks placed in an inaccurate manner – most often slightly after the 3rd crotchet – are considered by us to be compatible with the majority of such signs in a given phrase of a discussed source.

A few particular situations – bars 4, 15, 20, 22, 24, 29, 30 and 31 – are discussed separately.

category imprint: Graphic ambiguousness; Differences between sources

issues: Inaccuracies in GE , Inaccuracies in FE , EE inaccuracies

b. 4

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

No pedalling in A (→FE→EE,GE1no2,GE1op→GE2op→GE3op)

Pedalling in #FE2no2

Our suggestion
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According to us, the absence of pedalling in this bar in A is a result of Chopin's temporary uncertainty on whether and how to mark it, when the harmony changes on the 3rd beat of the bar. It is the first situation of this kind in the Waltz and the composer temporarily considered, as it seems, to sustain the bass note c with hand, like in bar 12 – the visible deletion most probably concerned the c minim. One can assume that the final version could be the pedalling of analogous bar 20, written already after having found a satisfactory solution in bars 8 and 10. Therefore, in the main text we suggest this pedalling; a respective addition was introduced already in GE2no2. 

category imprint: Differences between sources; Editorial revisions

issues: GE revisions

b. 15

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

No  in A

 in FE (→GE,EE)

() suggested by the editors
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The absence of the  sign in A does not have to be considered to be a mistake – perhaps Chopin did not want to determine the moment of releasing pedal in a place in which most probably it is about gradually suppressing the sound (the so-called diminuendo pedal). The sign added in FE may be authentic, however, according to us, it is to be considered to be an orientation hint only – the pedal can be certainly held longer. In this case, taking into account a possibility of an arbitrary addition of  by the engraver or reviser, in the main text we suggest a solution encouraging the performer to creatively look for a way of releasing the pedal, offering the most satisfying dying away of the sound. Cf. the Etude in D major, Op. 25 No. 8, bars 19-20. 

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

issues: Authentic corrections of FE , No pedal release mark

b. 20

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

Pedalling in A

 FE (→EE) & GE2no2

Pedalling in GE1op & GE1no2

No pedalling in GE2op (→GE3op)
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No pedalling indications in this bar is most probably a result of revision of GE2op (→GE3op), aiming at unifying bar 4 and 20. As far as the placement of the  sign is concerned, it is only the version of A that is authentic, the remaining are most probably a result of a routine interpretation of indications by engravers or simply an inaccuracy in reproducing the base text. 

category imprint: Differences between sources

issues: Inaccuracies in GE , Inaccuracies in FE , GE revisions