mUltimate Chopin

Op. 64 No 2, Waltz in C♯ minor

Text Compare Notes Sources Description

Issues : Omission of current key accidentals

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. 18

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

Crotchet & a-c1 in As (literal reading)

Crotchet & a-c1 in As (probable interpretation)

Crotchet & a-c1-d1 in AI (literal reading)

Crotchet & a-c1-d1 in AI (probable interpretation)

Crotchet & a-c1 in A (→FE→GE,EE)
..

Same as in bar 2, in the previous manuscripts there is no  raising a to a, which is probably an oversight. Notwithstanding the issue of the , in this bar we have three versions of the accompaniment, out of which the first and third differ only in the rhythmic value of the bass note (which practically most probably means generally a change of the way of its prolongation – implicitly with pedal in As and hand in A). Therefore, we can speak here of Chopin's hesitation, who in AI, written between As and A, wrote a slightly different version.

category imprint: Differences between sources; Corrections & alterations

issues: Chopin's hesitations , Omission of current key accidentals

b. 45-61

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

a-d1 on 2nd beat in As, contextual interpretation

f-a-d1 on 2nd beat in AI, contextual interpretation

a-d1 on 3rd beat in A & GE

a-d1-a1 on 3rd beat in FE (→EE)
..

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

b. 45-62

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

..

In As there are no naturals before d2, g2 and d3 in bars 45-46. In spite of the fact that in the L.H. there is no  before d1 as well, the pitch of these notes, intended by Chopin, compatible with later sources (which include naturals) can be deduced from the notation – the presence of sharps before g2 (bar 46) and d3 (bar 47) proves that:

  • the previous notes are g2 and d3 respectively;
  • Chopin considered here the sound of g2 and d3 to be more obvious than g2 and d3, which leads to the conclusion that in bar 45 he had to hear d1 and d2.

Similarly in bars 61-62, being in As a repetition, not written out, of bars 45-46.

category imprint: Interpretations within context; Differences between sources

issues: Omission of current key accidentals , Last key signature sign

b. 79-80

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

..

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