Issues : Inaccuracies in A
b. 13
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composition: Op. 64 No 2, Waltz in C♯ minor
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The range of the hairpin written in A is unclear – the top arm seems to be much longer than the bottom one. The respective sign in FE (→EEC, the majority of GE) perhaps corresponds to the range of the bottom arm of the hairpin of A. In the main text, we suggest an averaged range of the sign, which then leads to the topmost note of the melody; a similar length of the sign is also – as a result of revision – in GE2no2. Alternatively, one can take into account the top arm, written probably first – such a longer hairpin determines the peak of crescendo practically at the beginning of the next bar. The lack of continuation of the sign in bar 13 in EEW results almost certainly from the division into great staves – in this edition bar 13 opens a new line. category imprint: Graphic ambiguousness; Differences between sources issues: Inaccuracies in FE , Scope of dynamic hairpins , GE revisions , EE inaccuracies , Inaccuracies in A |
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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. 45-61
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composition: Op. 64 No 2, Waltz in C♯ minor
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The crotchet specifying the sound of the Neapolitan chord in bars 45 and 61 underwent a several-stage-long evolution from As to the corrected version of FE (→EE). Both the content of the chord (dyad) and the moment of its strike was changed. In the main text, we give the latest version, introduced in the last phase of proofreading of FE. The version of As is not unequivocal – we assume that there is no f note there, which ensures a possibility of choice of any of the undoubtedly or potentially authentic source versions. The naturals lowering d1 to d1 are present only in the editions (we give a sign of an unknown origin made in pencil in AI in brackets), yet the part of the R.H. does not leave any doubt as to the use of the Neapolitan chord. Similarly in bars 109 and 125, see also bars 173 and 189. category imprint: Interpretations within context; Differences between sources; Corrections & alterations issues: Omission of current key accidentals , Authentic corrections of FE , Last key signature sign , Inaccuracies in A |
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b. 72-89
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composition: Op. 64 No 2, Waltz in C♯ minor
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In bars 72-73 and 88-89, we reproduce the slurs of A in the main text. In FE and in the majority of the remaining editions (except for GE2no2), both slurs were reproduced inaccurately – the top one combined g1 in bar 72 (88) with c1 in bar 73 (89), whereas the bottom one – c1 with f. As a result, the c1 minim is not sustained in the editions. The mistake was corrected only in GE2no2. category imprint: Differences between sources issues: EE revisions , Errors in FE , GE revisions , Inaccuracies in A |
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b. 79-80
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composition: Op. 64 No 2, Waltz in C♯ minor
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There is no before the top most note of the chord in bar 79 in A (→GE1op), necessary before g1 due to the notation in the four-flat key signature. The sign was added in the remaining GE. In bar 80, Chopin did not write a before the lowest note of the last chord in A. The sign, although only cautionary in this context, is undoubtedly justified in this place and it was added in GE. category imprint: Interpretations within context; Differences between sources issues: GE revisions , Omission of current key accidentals , Inaccuracies in A |