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Op. 64 No 2, Waltz in C♯ minor

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b. 1-2

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

c & d in As & AI

C & D in A & FE (→GE,EE)
..

In As and AI the bass notes in bars 1-2 are written an octave higher than in the version prepared for print (in A one can see traces of corrections from c to C in bar 1). Lowering bass is one of frequently used interventions by Chopin at the time of elaborating original ideas – cf. bars 14, 32, 39 and 55, 65 and 81, as well as, e.g., the Waltz in D major, No. 1, bars 50 and 77.

category imprint: Differences between sources; Corrections & alterations

issues: Corrections in A , Accompaniment changes , Bass register changes

b. 2

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

a-c1 in As (literal reading)

a-c1 in As (probable interpretation)

a-c1-d1 in AI (literal reading)

a-c1-d1 in AI (contextual interpretation)

d-a-c1 in A & FE (→GE,EE)
..

In the previous autographs, Chopin tried varied versions of chords in this bar. Eventually, he used the original version only (with an a-c1 third) at the return of this phrase in bar 18. In both previous autographs, it is the absence of a  raising a to a that draws attention. According to us, it is not a harmonic variant, yet an inaccuracy of notation, therefore, we consider a literal interpretation (without ) in these sources only a highly unlikely variant.

category imprint: Differences between sources; Corrections & alterations

issues: Omission of current key accidentals

b. 3-19

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

..

In the main text we add a cautionary  before f1 in bar 3 and 19. In GE2no2 both signs were added, in GE3op – only in bar 19.

category imprint: Differences between sources; Editorial revisions

issues: GE revisions

b. 4-20

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

e1 & c1 in As, 1. version

f1 & c1 in AI

f1 & d1 in As, 2. version
or
f1 & d1 in A (→FE→GE,EE)
..

As includes two written versions of bar 4 – in the main course of the text it features the version with e1 as the bottom note of all dyads in the R.H. and the g-c1 fourth as the 2nd crotchet in the L.H. and above one can see the version with f1 and the g-d1 fifth. Bar 20 is not written out in As, hence it is meant to be the same as bar 4. We adopt the first, undoubtedly earlier, version to be the text of As, since the second became the final one (not including the rhythm). It cannot be excluded that the second version was added not in the first phase of writing the Waltz, yet later, even after having written AI, in which the part of the L.H. still conserved its original shape (the g-c1 fourth), whereas in the part of the R.H. in bar 4 one can see a correction from the original version.  

category imprint: Differences between sources; Corrections & alterations

issues: Corrections of AI

b. 7-23

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

Sixth B-g in As

Third e-g in AI & A (→FE→GE,EE)
..

The deletion visible in As suggests that the B-g sixth may be a remaining element of the original version, in which a sixth was present also on the 2nd crotchet. The same applies to bar 23, which is not written out in As. The version with sixth appears also in AI in bar 23 (deleted).

category imprint: Differences between sources; Corrections & alterations

issues: Corrections of AI