mUltimate Chopin

Op. 64 No 2, Waltz in C♯ minor

Text Compare Notes Sources Description

Issues : Authentic corrections of FE

b. 1-2

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

 in A

 in FE (→EE,GE1no2,GE1op→GE2op→GE3op)

 in GE2no2
..

Shifting the  hairpin so that it starts from an upbeat, is, according to us, rather an inaccuracy of the engraver of FE, hence, in the main text we give the undoubtedly authentic sign of A. However, since an alternative possibility of Chopin's proofreading in FE cannot be entirely excluded, the version of FE, repeated in all remaining editions except for GE2no2, can be considered to be a potentially authentic variant. In turn, shortening the sign in GE2no2 is undoubtedly a revision, as a part of which the  signs in all analogous bars were unified (bars 1-2, 5-6, 17-18 and 21-22).

category imprint: Differences between sources

issues: Inaccuracies in FE , Scope of dynamic hairpins , GE revisions , Authentic corrections of FE

b. 5-22

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

Slur over pair of sixths in AI & A

Two slurs in FE (→EE)

Slur e1-d1 in GE1no2 & GE1op (→GE2op→GE3op)

Slur c2-b1 in GE2no2
..

Both slurs over the pair of minims in bars 5-6 and 21-22 in A are clearly longer than in bars 1-2 and 17-18. Similarly in AI (only in bars 5-6, since Chopin overlooked the slur for the second time), hence these are the slurs we give in the main text. Double slurs in FE are probably a result of Chopin's proofreading – initially, the engraver of FE combined with a slur only the bottom notes of the sixths, which led the composer to add upper slurs (the original state was preserved in the majority of GE). According to us, the correction is occasional and it rather confirms the importance of a slur over the notes than proves a change of the slurring concept. Similarly in bars 133-134 and 149-150.

category imprint: Differences between sources

issues: Placement of markings , GE revisions , Authentic corrections of FE

b. 8-25

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

One-bar slurs in AI, A & GE2op (→GE3op)

Two-bar slurs in FE (→EE,GE1op,GE1no2→GE2no2)
..

It is not easy to evaluate how the difference between the slurring of sources in bars 8-9 (and similarly in bars 24-25) occurred. A includes two slurs in both places, although for the first time, when bar 8 appears at the end of the text's line, one could consider the slur in bar 9 to be a continuation of the previous. One-bar slurs are also in AI (except for bar 9, devoid of a slur). In this situation, one has to assume that the slurs of FE (→EE,GE1op,GE1no2→#GE2op2), combined in both places, could have been a result of Chopin's intervention. However, without being sure in this respect, in the main text we give the slurring of A, confirmed by AI. The version of FE, with a phrasing combining structural divisions (cf., e.g., the Waltz in A No. 3, bars 40-41), characteristic for Chopin, particularly in later pieces, can be considered to be (perhaps) an authentic variant.

category imprint: Differences between sources

issues: Inaccuracies in FE , GE revisions , Authentic corrections of FE

b. 8-24

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

..

In bars 8 and 24 there are no accidentals in the part of the L.H. in the autographs. In bar 8 FE added – perhaps at Chopin's request – a cautionary  before d, which was repeated in all editions. In GE and EEW2 a similar addition was performed in bar 24.

category imprint: Differences between sources; Editorial revisions; Corrections & alterations

issues: EE revisions , GE revisions , Authentic corrections of FE

b. 15

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

No  in A

 in FE (→GE,EE)

() suggested by the editors
..

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