Verbal indications
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b. 1-32
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composition: Op. 64 No 2, Waltz in C♯ minor
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In the previous autographs – As and AI – there is no tempo indication or any other interpretative indications apart from slurs. We do not record this absence in further notes on dynamic hairpins, verbal indications or pedalling. category imprint: Differences between sources |
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b. 1
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composition: Op. 64 No 2, Waltz in C♯ minor
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The dedication, both in A and in FE (→EEW1→EEW2), determines the same person – baroness Charlotte de Rothschild, Nathaniel's wife. In the main text, we give an expression used in FE, being the official way of presenting a married woman in France. It is unclear why the dedication was left out in GE and EEC – in spite of a collective cover for three (in EEC two) Waltzes, it could have been placed, e.g., on the first page of the note text. In the case of GE, the reason could have been a possible absence of cover in the proof copy of FE, being the basis for GE, since the dedication was placed in FE only on the cover. As does not include either the title or the dedication. The dedication is also absent in AI, although it is known that the autograph was offered to baroness de Rothschild. category imprint: Differences between sources; Corrections & alterations issues: EE revisions , Dedications , GE revisions |
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b. 33
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composition: Op. 64 No 2, Waltz in C♯ minor
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The relation between the tempos of the opening section of the Waltz (bars 1-32 and analog.) and the following it repeating figurative section (bars 33-64 and analog.) raises doubts. At the 1st transition between the sections (bars 32-33), Chopin did not mark the change of tempo, however, the next two transitions include respective indications in the text – in bar 129 it is tempo primo and in bar 161 – più mosso. It suggests that for the first time the figurative section is to be played slower than for the second and third time. Such a possibility cannot be entirely excluded, yet it seems to be more natural that the section, repeated three times without any changes to the text, is to be played in the same tempo. Therefore, Chopin may have overlooked a respective indication (più mosso) in bar 33. Nevertheless, since the issue of tempo proportions of particular fragments and phrases of the Waltz is more complex, according to us, and a more detailed analysis reveals also other possible explanations of the existing source notations (cf. the note in bar 161), we do not suggest adding this indication in the main text. category imprint: Interpretations within context; Editorial revisions issues: Inaccuracies in A |
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b. 49
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composition: Op. 64 No 2, Waltz in C♯ minor
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category imprint: Differences between sources; Corrections & alterations |
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b. 64-65
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composition: Op. 64 No 2, Waltz in C♯ minor
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Chopin added the suggestion to change the tempo – like all other performance marks – in A. Visible crossings-out indicate a change of the original idea; however, on the available photograph, one cannot see what was removed. In the main text, we place the indication in bar 65, in accordance with the notation of A (→FE→GE1no2). Nevertheless, it is highly likely that such a placement was forced by the layout of A – the end of bar 64 is squeezed at the end of the line, whereas on the above staff, there is the final version (f1) of the third beat of the bar, hence writing even a fragment of an indication in that place was impossible. Therefore, it cannot be excluded that moving the beginning of the indication over the 3rd beat of bar 64, introduced in the majority of editions, complies with the composer's intention. category imprint: Differences between sources issues: EE revisions , GE revisions |
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