mUltimate Chopin

Op. 64 No 1, Waltz in D♭ major

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b. 19

composition: Op. 64 No 1, Waltz in D♭ major

a-c1-g1 in As, AII, AIII & FE (→GE,EE), possible reading of A

c1-g1 in AI, different reading of A
..

On the basis of the photocopy of A we have at our disposal, it is difficult to state whether on the 2nd and 3rd crotchets in bar 19 Chopin wanted to have a notes or not. FE (→GE,EE) includes a-c1-g1 chords, however, the engraver could have mistaken this bar with bar 17. A few different versions, which are included in bars 11-12 and 19-20 in the accompaniment of As, AI, AII and AIII, as well as deletions performed in these bars in A prove that Chopin was looking for the smartest version, as far as the sound and piano issues are concerned, until the very end. Giving bars 11 and 19 the same form seems to be justified due to the sound economy and thinking with pairs of bars (bars 17-18 and 19-20), therefore, we give this version in the main text.
Similarly in bar 91.

category imprint: Graphic ambiguousness; Interpretations within context; Differences between sources; Corrections & alterations

issues: Corrections in A , Accompaniment changes

b. 20

composition: Op. 64 No 1, Waltz in D♭ major

e, chord & A in As, literal reading

e & 2 chords in As, contextual reconstruction

Minim a & 2 fifths in AI & AII

Crotchet a & 2 fifths in AIII

Crotchet a, fifth & A in A (→FE→GE,EE)
..

In this bar, the differences between the presentation autographs and the final version result from the need for a smooth transition with the next bar, in which Chopin used a different version of accompaniment, while writing autographs-gifts and yet another one, while preparing the Waltz for print. Therefore, the presented variants may be rationally used only with a corresponding version of bars 21-24. The notation of As is problematic, as Chopin did not write a version of bar 20 which would combine with the tenor-linear version of the L.H., written in the sketch as second and adopted in our reconstruction of As – see bars 21-24 – at all. We assume that the situation implies repetition of the version of bars 9, 11 and 18.

Moreover, it seems to be incomprehensible why the correction of the version of As, which is clear in A, was not initially included by the engraver of FE neither in this bar nor in its repetition in the reprise, as a result of which it had to be redone in the proofreading of this edition. It suggests adding changes in A already after having engraved FE, probably at the time of proofreading. Cf. Polonaise in E minor, Op. 26 No. 1, bar 20.

category imprint: Differences between sources; Corrections & alterations

issues: Corrections in A , Accompaniment changes , Authentic corrections of FE

b. 21-23

composition: Op. 64 No 1, Waltz in D♭ major

L.H. minims in As, AI, AII & AIII

Crotchets in A (→FE→GE1op,GE1Db,EE)

Crotchets &  e1 in GE2op (→#GE3op) & EEW1 (→EEW2)
..

Already in As, Chopin wrote two versions of accompaniment in these bars and in bar 24, however, it is not clear how he planned to use them. Eventually, in all later sources they were used to diversify the repeating figures through differentiation of the part of the L.H. in bars 21-24 and 29-32. The presentation autographs and the published version differ, however, in the order of appearance of both versions – apart from minor details, AI, AII and AIII first include the "tenor" version, which in A (→FE→GE,EE) appears only as the second.
In order to preserve the continuity of the bass line after a possible version change, in the context of this note, one has to choose one of the corresponding variants in bars bar 20 and bar 24.

In the main text we add a cautionary  before e1 in bar 21, after the authentic sign before g1 in bar 23.

category imprint: Differences between sources; Corrections & alterations

issues: Chopin's hesitations , Accompaniment changes

b. 21-23

composition: Op. 64 No 1, Waltz in D♭ major

..

Chopin did not pay special attention to cautionary flats before the e1 and g1 notes in bars 21 and 23. The first was written only in AIII, it was also added in GE2op (→#GE3op) and EEW1 (→EEW2). The second is present in the majority of the sources – it was overlooked only in AII and GE2Db (→GE3Db→GE4Db).

category imprint: Differences between sources; Corrections & alterations

issues: EE revisions , Chopin's hesitations , Errors in GE , GE revisions , Cautionary accidentals

b. 21-23

composition: Op. 64 No 1, Waltz in D♭ major

6 notes in As

7 notes in remaining sources
..

The part of the R.H. in bars 21 and 23 is written in As in two versions of an unidentified purpose. In the suggested reconstruction of the sketch we place the original, six-quaver version for the first time (bars 21 and 23), whereas the later, which starting from the presentation autographs became the only one, for the second time (bars 29 and 31).

category imprint: Differences between sources; Corrections & alterations

issues: Main-line changes