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Op. 64 No 2, Waltz in C♯ minor

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Issues : Main-line changes

b. 38-54

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

in As, 1. version

in As (2. version), AI & A (→FE→GE,EE)
..

The ending of bar 38 has two versions in As, out of which the second – differently than in the next bars – became the final version. Similarly in bar 54, which is not written out in As.

category imprint: Differences between sources; Corrections & alterations

issues: Main-line changes

b. 39-56

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

in As, 1st version

in As, 2nd version

in AI & A (→FE→GE,EE)
..

In As the melodic line in bars 39-40 was written in two versions (cf. bar 38). We adopt the version written earlier as the text of the draft, which clearly differs from the final version. The same applies to bars 55-56, not written in As.

category imprint: Differences between sources; Corrections & alterations

issues: Main-line changes

b. 40-56

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

No accidental in As & A (→FE→EEC) – f2

 in AI – f2

 in GE & EEW1 (→EEW2) – f2
..

On the last quaver of bars 40 and 56, both f2 in As and f2 in AI are written in a way that does not raise any doubts. It proves that while working on the Waltz, Chopin certainly considered two versions of this note. In this situation, leaving it in A (→FE) without an accidental does not allow interpreting Chopin's intention with an absolute certainty. In the main text, we assume an interpretation compatible with the valid norm, however, we specify the sound with a cautionary .

The version of EEC is certainly erroneous.

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

issues: Accidentals in different octaves , Chopin's hesitations , Main-line changes

b. 64

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

a1 in As & AI

f1 in A (→FE→GE,EE)
..

In As and AI, the last crotchet in bar 64 is an a1, whereas in As it is written at the end of the previous section as a g1. The photocopy of A available to the editors is not very legible in this place; however, it seems to be very likely that Chopin changed there a1 to f1.

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

issues: Enharmonic corrections , Main-line changes

b. 67

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

e2-d2 w As (1. version) & A (→FE→GE,EE)

e2-d2-c2 in As (2nd version→AI)
..

The version of AI is naturally earlier than the published version; however, the notation of As, in which both versions most probably overlap, suggests that it is the version of A that was created first. It results from the space between the notes – e2 and d2 fill the bar to the same extent as f2 and e2 in the previous bar. Then, willing to introduce a progression of three crotchets, Chopin simply added a c2. The corrections visible in the next two bars reveal also other changes in the second half of this phrase; therefore, it is likely that the continuation of the two-note version of this bar in As was different than in the final version (cf. the reconstruction of the earliest version of the melody in the note to bar 69). A correction in this place is visible also in A – the interpretation of the crossed-out text is actually impossible, but the range of the crossing-out suggests that two crotchets were removed, hence most probably the version of AI.  

category imprint: Differences between sources; Corrections & alterations

issues: Chopin's hesitations , Deletions in A , Main-line changes