PERFORMANCE COMMENTARY

Notes on the musical text bars 50, 54, 210 and 214 cresc.
bars 57 and 217
The v a r i a n t s marked as ossia were given this label by Chopin or bars 58–60 and 218–220 appassionato
were added in his hand to pupils’ copies; variants without this designa- bar 81 and analog. dolce
tion are the result of discrepancies in the texts of authentic versions or bar 95 and analog. dim.
an inability to establish an unambiguous reading of the text. bar 113 dolente
Minor authentic alternatives (single notes, ornaments, slurs, accents, bar 121 , appassionato
pedal indications, etc.) that can be regarded as variants are enclosed in bars 127–128 smorzando e rall.
round brackets (), whilst editorial additions are written in square brackets []. bar 145 risoluto
Pianists who are not interested in editorial questions, and want to base bars 146–152 sempre più forte ed animato
their performance on a single text, unhampered by variants, are rec- bar 177 dolce e tranquillo.
ommended to use the music printed in the principal staves, including all
p. 22
the markings in brackets. Bars 11 and 12 A different division between hands:
Chopin’s original fingering is indicated in large bold-type numerals, 5
1
1 2 3 4 5 , in contrast to the editors’ fingering which is written in small
italic numerals 1 2 3 4 5 . Wherever authentic fingering is enclosed in
parentheses this means that it was not present in the primary sources,
but added by Chopin to his pupils’ copies. The dashed signs indicating
the distribution of parts between the hands come from the editors. 1 1
A general discussion on the interpretation of Chopin’s works is to be
contained in a separate volume: The Introduction to the National Edi- Bar 16 The last four quavers can be executed with the L.H.,
tion, in the section entitled Problems of Performance. which makes possible a convenient preparation of the right hand
for the entry of the theme in the next bar.
Abbreviations: R.H. — right hand, L.H. — left hand.
Bars 26 and 186 R.H. The slur next to the grace-note can be

understood either as a conventional sign or as an arpeggio:

1. Waltz in E flat major, Op. 18 The editors recommend to perform the ornament in an anticipatory
p. 13
manner, similarly to the mode suggested by Chopin for the grace-
Bars 12, 36, 44, 165, 167 and 169 L.H. Slurs in parentheses note in bars 28–29.
(cf. Source Commentary) stress the necessity of sustaining the
p. 24
fundamental bass note. Obviously, it is necessary to do the same Bars 67–68 and analog. R.H. The notation of the runs in the
wherever indicated by the rhythmic value of the bass note. sources does not indicate distinctly the moment of their begin-
p. 16
ning. The following performance appears to be the easiest:
Bar 118 and analog. R.H. The grace-notes can be executed both
in an anticipatory manner or on the downbeat (the first one simul-
1
taneously with D in the L.H. and f in the R.H.).
p. 17
Bars 133–148 and 245–258 R.H. It is not essential whether the 67
grace-notes are sounded simultaneously with the crotchets in the
L.H. or slightly earlier. Greater importance is attached to their
sound merit — they should be lighter than the crotchets creating With suitably dexterous fingers it is possible to begin the figura-
the melodic line. tion slightly later, e.g.:
p. 18
Bars 165–180 The markings borrowed from the pupils’ copies
in bars 167 and 171 and una corda in bars 179–180 suggest
a performance conception consisting in a dialogue between pairs
of bars imbued with different expression: more vivid in bars 165– 67
166 and 169–170 and gentler in bars 167–168 and 171–172.
A similar dialogue is found in Mazurka in C minor, Op. 30, no. 1,
bars 1–16, Mazurka in B minor, Op. 30, no. 2, bars 1–16 and Analogously in remaining places.
Nocturne in B, Op. 32, no.1, bars 27–30. The ossia variants in bars 163–164 and 167–168 are best ex-
p. 21 ecuted in the following manner:
Bar 287 The sign , introduced by Chopin into the pupils’ copy, 8
probably denotes sustaining the pedal until the end of the Waltz.

163

2. Waltz in A flat major, Op. 34, no. 1

Regardless of the selected rhythmic solution it is necessary to
The autograph of the original edition of the Waltz contains more per-
avoid accentuating the notes of passages corresponding to par-
formance markings than the final version. Some of them contradict
ticular crotchets of the accompaniment.
later indications, others refer to fragments substantially changed by
Chopin afterwards. The markings listed below can be regarded as an p. 30
Bar 300 The intention of the execution of bars 300–305 on
expressive supplement to the final version: a single pedal, foreseen by Chopin, is to retain the sonority of the
bars 13–16 veloce e con forza A -major chord from bar 300 also in following bars. The change
bar 17 con anima of the pedal on the last crotchet, proposed by the editors, makes
bars 33 and 193 leggiero it possible to attain this goal without mingling the retained har-
bars 49 and 209 , risoluto 1
mony with the dissonant notes d and f .
1

2
 Performance Commentary

3. Waltz in A minor, Op. 34, no. 2 p. 53

Bars 121–123 R.H. The sign which in bar 123 recommends to
1
p. 31 sound a together with A in the L.H., added to a pupil’s copy,
Bars 1–16 and analog. L.H. The fingering in brackets proposed suggests the following rhythmic grouping of the passage:
by Chopin is a particular example of the ‘‘expressive fingering’’ in 8
which Chopin entrusted the long melodic notes (minims), which
simultaneously comprise expressively important harmonic notes,
to the first finger.
p. 32
Bars 55, 59, 63 and analog. R.H. Double grace-notes should be
executed similarly to mordents (cf. Source Commentary), sound- 7. Waltz in C sharp minor, Op. 64, no. 2
ing the first simultaneously with the bass note. In the opinion of
the editors the difference in the notation ( and ) does not The relation of the t e m p i of the initial section of the Waltz
denote a distinction of the performance. (bars 1–32 and analog.) and the successive figurative section
(bars 33–64 and analog.) gives rise to doubts (see Source Com-
mentary to bars 33 and 161). In the editors’ opinion an analysis of
the agogic markings leads to the following practical conclusions:
4. Waltz in F major, Op. 34, no. 3 — Tempo giusto at the beginning of the Waltz denotes a cer-
p. 36 tain sphere of a tempo proper for this dance, encompassing both
Bars 1–9 The division of chords between hands, as noted by the moderate cantilene tempo of the opening section and the
Chopin, suggests arpeggiating them in the L.H.; the arpeggios slightly quicker tempo of the figurative section,
1
should be anticipated (e sounded together with the R.H.). — all agogic markings should be understood flexibly, without
p. 38 a distinct contrasting of the tempi,
Bars 83–84, 87–88 and analog. R.H. See commentary to Waltz — in bars 49–64 and analog., the marking , the absence of
in E , Op. 18, bars 133–148 and 245–258. recurrent signs and long slurs suggest a dance-like light
and very regular performance.
Bars 93 and 109 R.H. Beginning of the trill: Obviously, the proportions of the tempi and other interpretation
2
d simultaneously with c in the L.H. elements depend on the discretion of the performer; this Waltz,
containing a gamut of expressive hues, offers great opportunities
for the invention of the pianist.
5. Waltz in A flat major, Op. 42 p. 54
Bars 3–4 and analog. R.H. According to Chopin (see quotations
p. 41 about the Waltzes… prior to the musical text) it is necessary to dif-
Bars 9–40 and analog. R.H. The slur over those bars suggests ferentiate clearly the value of the quaver, which begins the motif,
a legato possibile execution of the theme melody written in from the subsequent value of the semiquaver. Cf. similar rhythmic
crotchets. The marking leggiero refers probably to the quaver figures in Waltz in A , Op. 34,no. 1, bars 60–63 and analog.
figuration. See Source Commentary.
Bars 27–28, 29–30 and analog. R.H. The sources contain the fol-
p. 45
Bar 158 R.H. The arpeggio with the grace-note should be ex- lowing three combinations of a repetition and retention of notes
ecuted analogously as in bar 160 (see below). in those bars:
1
Bar 160 R.H. The first grace-note (f ) should be struck simultan-
a.
eously with E in the L.H.
p. 47
Bar 216 L.H. In this bar, owing to different harmonic succession,
the use of the variant version of the accompaniment (as in bar b.
44, 52 and analog.) is inadmissible.
p. 49
Bars 281-282 R.H. In the editors’ opinion it is better, for practical
c.
reasons, to choose one of the two versions in which bar 282 is
an exact transposition of bar 281 (fourth quavers of both bars
have either thirds or single notes). On the other hand, the sources lack a version with a repetition of
2 1
c in bar 28 and the retention of b in bars 29–30. In bars 155–
158 it is possible to repeat the version chosen for bars 27–30 or
to apply another of the above versions.
6. Waltz in D flat major, Op. 64, no. 1 p. 56
Bars 65–96 R.H. Chopin noted down two rhythmic-expressive
p. 50
Bars 1–4 The description by Chopin’s pupil W. von Lenz (see conceptions of this section: one (main text), which repeats notes at
quotations about the Waltzes…, prior to the musical text) seems the beginning of bars 67, 71, 77 and 93, and the other (variants),
to suggest that Chopin himself performed this introduction freely, which sustains appropriate notes (cf. Source Commentary to bars
beginning with a tempo quicker than the actual tempo of the Waltz. 66-67, 70-71, 76-77 and 92-93). In the opinion of the editors, the
2
This account could depict one of the ways in which Chopin played performer might select variants, e.g. a repetition of e in bar 67
2 3
the Waltz, which today it would be difficult to emulate upon the and f in bar 71, and the sustaining of d in bars 76-77 and 92-93.
basis of such a general description. The fact that all the sources 2
Bar 88 R.H. The first grace-note, c , should be sounded simultan-
have verbal markings in bar 1, without any changes in bar 5, as 1 1
eously with the fifth c –g in the L.H.
well as the presence of the annotation ‘‘4 mesures’’ in the pupils’
copy indicate rather a performance conception of the beginning
of the Waltz, concurrent with the metre.
p. 52
8. Waltz in A flat major, Op. 64, no. 3
Bars 69–72 R.H. The sign , repeated four times, probably
p. 63
denotes a continuos four bar-long trill (see Source Commentary Bar 109 R.H. The grace-note should be sounded simultaneously
to those bars and the variant beginning of the Waltz). with A in the L.H.
Jan Ekier, Paweł Kamiński

3
SOURCE COMMENTARY /ABRIDGED/

Introductory comments FED, FED’ — two copies (FE3, FE2) from a collection belonging
to Chopin’s pupil Camille Dubois (Bibliothèque Nationale, Paris),
FES — copy of FE2 from a collection belonging to Chopin’s pupil
The following commentary sets out in an abridged form the principles
Jane Stirling (Bibliothèque Nationale, Paris),
of editing the musical text of particular works and discusses the most
FEJ — copy of FE3 from a collection belonging to Chopin’s sister
important discrepancies between the authentic sources; furthermore, it
Ludwika Jędrzejewicz (Fryderyk Chopin Museum, Warsaw),
draws attention to unauthentic versions which are most frequently en-
FEX — copy of FE1 of unknown provenance (Ewa & Jeremiusz
countered in the collected editions of Chopin’s music compiled after his
Glensk collection, Poznań). The pencil annotations it contains
death. A separately published Source Commentary contains a detailed
display characteristic features of Chopin’s teaching notes.
description of the sources, their filiation, justification of the choice of GE1 First German edition, Breitkopf & Härtel (5545), Leipzig July
primary sources, a thorough presentation of the differences between 1834, based on the proofs of FE1 without Chopin’s final correc-
them and a reproduction of characteristic fragments. tions. GE1 contains traces of publisher’s adjustments and was
not corrected by Chopin.
Abbreviations: R.H. – right hand, L.H. – left hand. The sign → symbolises a con-
nection between sources; it should be read “and … based on it”. GE2 Second German edition (same firm and number), after 1840,
basically re-creating the text of GE1, with several distinct errors,
and supplementing chromatic signs.
GE3 Third German edition (same firm and number), introducing a num-
Remark to the second edition ber of arbitrary changes.
GE4, GE5 — fourth German edition, Breitkopf & Härtel (9618), about
In the course of preparing this edition of Waltzes attention was paid to 1858, re-creating the slightly changed text of GE3, and its later
an important, heretofore unknown source to Waltz in A , Op. 42 – (after 1872) revised impression.
a proof copy of the first French edition with corrections and supple- GE = GE1, GE2, GE3, GE4 and GE5.
ments in Chopin’s hand∗. Furthermore, several variants have been EE1 First English edition, Wessel & C o (W & Co 1157), London August
added to the musical text thanks to editorial clarifications suggested by 1834, based on the proofs of FE1, without Chopin’s final correc-
Dr. Krzysztof Grabowski of Paris. tions. EE1 contains traces of publisher’s revision and was not
corrected by Chopin.
EE2 Second impression of EE1 (same firm and number), introducing
further unauthentic changes and supplementation.
Titles of Waltzes EE = EE1 and EE2.

The original titles of the Waltzes, preceding the musical text, are cited Editorial Principles
according to the autographs. The designations ‘grande’ (Opp. 18, 34, We accept as our basis FE2 as the latest authentic source, compared
42), ‘brillante’ (Op. 34) and ‘nouvelle’ (Op. 42), occurring in the original with A and AII. We take into consideration Chopin’s annotations in five
editions, are probably an arbitrary addition made by the publishers. pupils’ copies. Isolated, obvious oversights of performance markings
(slurs, accents, staccato dots) are supplemented according to AII and
analogous passages in the final version (A and FE).

1. Waltz in E flat major, Op. 18 The C h o p i n f i n g e r i n g comes from all five pupils’ copies (predom-
inantly from FED’). In recurring fragments the fingering is frequently
Sources repeated partly or as a whole, testifying to the importance attached to it
AI Autograph/fair-copy of the original version, dedicated to Miss by Chopin. Nonetheless, the composer prepared the Waltz for print
Horsford in Paris, 10 July 1833 (Yale University, New Haven). without the fingering; thus, in order not to overburden the text, we give
It differs from the ultimate version as regards many details, par- all the numerals referring to the given place already upon the first
ticular sections (which in the final version correspond to bars 5– occasion, without repeating them later.
68, 69–116, 117–164) are numbered as consecutive waltzes,
p. 13
without coda. Bars 1–4 R.H. The octave doubling of the introduction given in the
AII Autograph/fair-copy, details close to the final version; without footnote was marked by Chopin in FED’. The introduction is noted
coda (Fryderyk Chopin Museum, Warsaw). in octaves also in AI, which additionally contains the marking .
A Autograph/fair-copy of the final version, serving as the basis for
the first French edition (Musée de Mariemont). Bar 5 In FE (→ GE,EE) there is no marking, probably due to an
FE1 First French edition, M. Schlesinger (M.S. 1599), Paris June oversight by the engraver.
1834, based on A and twice corrected by Chopin.
FE2 Second impression of FE1 (same firm and number), in which Bars 5–7, 10–12 & analog. FE4 arbitrarily replaced authentic signs
Chopin corrected, i.a. details of pedalling and articulation. in bars 5–7 & analog. by a single sign spanning 3 bars.
FE3 Third impression of FE1, H. Lemoine (2777.HL), Paris December Similarly, in bars 10–12 & analog. it introduced a 3-bar sign .
1842. The FE3 musical text does not differ from FE2.
FE = FE1, FE2 and FE3. Bars 12, 36, 44, 165, 167 & 169 L.H. Slurs next to the bass notes
FE4 Second French edition, H. Lemoine (3611.HL), about 1850, intro- come from FED’ (all) and FEX (in bars 165-169). In FED’ such
ducing, i.a. a number of arbitrary changes of performance mark- a slur is found also in bar 66 but we do not give it due to its pos-
ings, accepted by some of the later collected editions. sible misreading as a tie sustaining e .
FE5 Reprint of FE4, H. Lemoine (5344.HL), about 1859.
FED, FED’, FES, FEJ, FEX — pupils’ copies of FE with annotations by Bar 28 L.H. At the beginning of the bar, A ( → FE → GE,EE) has a
Chopin, containing fingering, performance directives, variants, as a crotchet. We accept the notation of the accompaniment in
corrections of printing errors: analogous bars, where Chopin lengthened the rhythmic value of
this note: in bar 60 in A and in bar 212 in the proofs of FE2.

∗
p. 15
The editors of the National Edition wish to express their gratitude to Prof. Paul Badura- Bar 69 The designation dolce is found in autographs but not in
Skoda of Vienna for rendering available a photocopy of this recently discovered source. the original editions.

4
 Source Commentary

p. 17
Bars 142-144 R.H. The ossia variant given in the footnote was 2. Waltz in A flat major, Op. 34, no. 1
added by Chopin into FEX.
Sources
Bars 145–146 R.H. The fingering inscribed into FEX present dif- AI Autograph/fair-copy of an earlier version of the Waltz, written on
4 4 15 September 1835 in Děčin (Tetschen) in an album of the
Countesses von Thun-Hohenstein (lost, photocopy in the Fryderyk
ficulties in interpretation: . It is un- Chopin Museum, Warsaw). In comparison with the final version,
clear how to supplement it, and moreover, both figures could its characteristic feature is a larger number of performance mark-
possibly refer to the neighbouring grace-notes. For this reason ings, written probably with an amateur pianist in mind.
we give only the fingering of FED’ which raises no doubt. A Autograph of the final version, serving as the basis for the first
French edition (Warsaw Music Society). In comparison to the
Bar 156 R.H. In A, GE and EE the quaver is the sixth f 1–d 2. In A, earlier AI edition, in A Chopin added a coda and changed many
melodic-rhythmic and harmonic details.
similar figures in bars 121–124 show the deletion of the lower
FE First French edition, M. Schlesinger (M.S. 2715), Paris December
note of the sixth; the retention of f 1 is an oversight by Chopin,
1838, based on A and twice corrected, presumably by Julian Fon-
corrected in the second proof-reading of FE1.
tana. It is highly probable that Chopin took part in the proof-reading.
p. 18 FED, FES — as in Waltz in E , Op. 18.
Bars 167, 171 and 179–180 The sign in bars 167 and 171
GE1 First German edition, Breitkopf & Härtel (6032), Leipzig December
comes from FED’. In bars 179–180 it contains the sign with which 1838, based on the proofs of FE which did not contain the final
Chopin marked the use of the left pedal in FES of Nocturne in F , corrections made by Chopin. GE1 includes a number of obvious
Op. 15 no. 2. See Performance Commentary to bars 165–180. errors and contains traces of publisher’s adjustments; it was not
corrected by Chopin. There are copies of GE1 with different covers.
Bars 173 R.H. The tenuto signs come from FEX. GE2 Second German edition, Breitkopf & Härtel (9620), about 1858, with
a detailed revision of the text of GE1 (correction of errors and nu-
Bars 177–180 R.H. The ossia variant given in the footnote was merous changes intent on a uniformisation of analogous passages).
added by Chopin into FEX. GE3 Later (after 1872) impression of GE2, with further slight changes.
GE = GE1, GE2 and GE3.
Bar 178 L.H. A ( → FE1 → EE,GE1 → GE2) has no before the lower EE1 First English edition, Wessel & C o (W & C o 2280), London De-
note of the second crotchet. This error was corrected by Chopin in cember 1838, based on FE and including a number of adjust-
the proofs of FE2. GE3 (→ GE4→ GE5) arbitrarily introduced the ments; it was not corrected by Chopin.
version of bars 166, 170 and 174 into this bar. GE5 erroneously in- EE2 Second impression of EE1, with slight supplements.
troduced the correct version of bar 178 into bar 174. EE = EE1 and EE2.

Bars 183–185 R.H. The ossia variant given in the footnote was Editorial Principles
added by Chopin into FEJ; the same version is given in AII. We accept as our basis A. The supplements and changes in FE, which
could have been introduced by Chopin and were accepted by him during
p. 19
Bar 224 L.H. On the second crotchet A ( → FE1→ GE,EE) has e 1 lessons, are given in the main text, with the A version added in the vari-
in the chord. During the proof-reading of FE2 Chopin changed it ants. We take into consideration also Chopin’s annotations in pupils’
to d 1 (as in analogous bars). copies. Pedal markings come from A, AI and FE; we give in parentheses
signs occurring only in FE and those among the signs contained in AI,
Bar 231 L.H. In analogous bars 191 and 199 in A, Chopin whose transference to the final version could give rise to objections owing
changed f 1 to d1 in the chords. The retention of f 1 was almost to textural or harmonic differences between the two versions. Other per-
certainly unintentional (when correcting Chopin often missed one formance markings in AI, which can be regarded as proposals supple-
of several similar passages). menting the final version, are given in the Performance Commentary.
p. 22
p. 21
Bar 274 L.H. On the second and third crotchet A originally had Bar 26 and analog. R.H. In bar 26 the flat lowering g 1 to g 1 was
a three-note chord B –e –g. Subsequently, Chopin deleted and added in the proofs of FE (→ GE,EE). This change should certainly
replaced it with a B –g sixth. Ultimately, he added e , but only on occur also in bar 186, and thus we give this version in both pas-
sages. The variant comes from A and AI. Stylistically, both ver-
the second crotchet of the bar; this version was published in FE1
sions are possible: similar harmonic turns are encountered in,
( → GE,EE). In the proofs of FE2 Chopin added e also on the last
e.g. Waltz in G , WN 42, bar 28 (a version from the Yale auto-
crotchet, thus returning to the original conception. graph) and in E , Op. 18, bar 178. The slur over the grace-note
(conventional or denoting an arpeggio) is given according to A.
Bars 277–278 R.H. GE and EE erroneously have before the In FE ( → GE,EE) it is placed below the heads of notes, mistakenly
first c 2 in bar 277. Distinct naturals in A and FE leave no doubt tying g 1 .
as to Chopin’s intention. GE2 and subsequent German editions
arbitrarily added also prior to c 2 in bar 278. Bar 29 and analog. R.H. In A the grace-note is written before the
bar line. In FE (→ GE1,EE) this notation is repeated only in bar
Bar 278 L.H. FE4 and the majority of later collected editions arbit- 29; in bar 189 the grace-note is placed mistakenly behind the bar
rarily added e to the sixth on the second and third crotchet. line. In GE2 this erroneous version was employed in both bars.

Bar 279 R.H. Prior to d 1 at the beginning of the bar A has a super- p. 23
Bar 40 and analog. R.H. We give the sign according to A. In
fluous , which the engraver of FE misread as . This error was FE ( → GE,EE) it was deciphered as . AI has both here and
transferred from the proofs of FE to EE and GE (not corrected in bar 32.
until GE5). The erroneous and unnecessary sign was removed in
the final proof-reading of FE1. Bar 48 (prima volta) and 176–177 R.H. Some of the later collect-
ed editions arbitrarily added a tie sustaining note e 1.
Bar 287 In FED Chopin added the sign of depressing the pedal.
Bar 62 and analog. L.H. On the second crotchet GE1 (→ GE2)
Bar 304 This bar, added by Chopin in A, but initially overlooked mistakenly repeats the first chord of the bar.
by the engraver of FE, does not occur in GE or EE. Chopin sup- p. 24
plemented this gap in the final proof-reading of FE1. Bars 67, 71 and analog. R.H. Some of the later collected editions
have trills instead of mordents. Their presence has a counterpart
Bar 307 L.H. GE does not have the lower E 1 . in AI, although in that particular autograph corresponding motifs

5
Source Commentary

ie ie
have a different, more richly ornamented form, both in bars 50–51 FE2 Second French edition, Brandus et C (B. et C 2716), Paris
and here. The final version of A (→ FE →GE,EE) has distinct mor- 1854–1858, re-creating, with some errors, the text of FE1.
dents, and bars 163 and 167 even show deletions of the signs. FE = FE1 and FE2.
FED, FES, FEJ — as in Waltz in E , Op. 18.
Bar 69 L.H. In the chord on the second crotchet FE (→ GE1, EE) GE1 First German edition, Breitkopf & Härtel (6033), Leipzig December
mistakenly has a instead of b . 1838, based most probably on the proofs of FE1. GE1 includes
a number of obvious errors and contains traces of publisher’s
Bar 83 and analog. L.H. In A Chopin changed the number and adjustment; it was not corrected by Chopin. There are copies of
rhythm of strokes in the top voice. In FE ( → GE,EE) one of the GE1 with different covers (three versions).
ensuing deletions was misread as a tie joining both a . GE2 Second German edition (same firm and number), after 1852, with
p. 26 numerous modifications in relation to GE1 (corrected errors,
Bars 163–164 and 167–168 R.H. The pencilled signs added in changed slurs and other arbitrary changes).
FED over the ends of the passages presumably denote the pos- GE3 Third German edition (same firm and number), after 1858, with
sibility of extending them by an octave, which we have taken into further arbitrary changes.
consideration as ossia. Such an interpretation can be supported GE = GE1, GE2 and GE3.
by AI, in which the second passage is written up to c 4. EE First English edition, Wessel & C o (W & C o 2281), London De-
p. 27 cember 1838, based on FE and including a number of adjust-
Bar 171 L.H. On the second crotchet A ( → FE → GE,EE1) has a 1 ments; it was not corrected by Chopin. There are copies with
instead of g 1 in the chord. The error made by Chopin is testified different covers and title pages.
by on the level of g 1, which is unjustified next to a 1. The copy written by George Sand (photocopy in the Fryderyk Chopin
Museum, Warsaw) and a fragment of a copy by an unknown copyist
Bar 175 R.H. FE ( → GE,EE) overlooked c 1 in the last chord. (Österreichische Nationalbibliothek, Vienna), which are copies of origi-
1
nal editions, do not possess the merit of sources.
Bar 189 L.H. FE (→ GE1,EE) overlooked e in the chords.
p. 29 Editorial Principles
Bars 239–240 and 243–244 R.H. FE ( → GE,EE) overlooked ties We accept as our basis A, and take into consideration supplements
sustaining f 2. introduced in FE, which could have been made by Chopin, and were
accepted by him during lessons. We take into consideration also
Bar 243 L.H. In GE the lowest note in the chord on the second
Chopin’s annotations in pupils’ copies.
crotchet is mistakenly f.
p. 31
Bar 8 and analog. R.H. A ( → FE → GE,EE) has the following ver-
Bar 244 R.H. In A the top note in the first chord is mistakenly d 3.
R.H. FE ( → GE,EE) overlooked the point lengthening a 2. sion: . Chopin supplemented it in a similar way
2
Bar 247 R.H. The last quaver in A ( → FE → GE1,EE) is f . The mis- in all three pupils’ copies, making it possible to recognise the
take, probably made by Chopin, is indicated by: changes as final. Two notes were added on the second crotchet
— e 3 in bar 255; this type of variegation of virtuoso figuration, in FES and FEJ (our main text) and only c 2 in FED (our variant).
difficult to capture sonorically, is rather unlikely, In accordance to an account by Chopin’s pupil W. von Lenz (see
— a possible mechanical error in writing similar bars 245–247, quotations about the Waltzes…, prior to the musical text),
— the smoother sound of e 2, especially together with the line of Chopin added this supplement (in the version given in the main
accented top notes in the L.H. text) also in his copy.

Bar 262 and 264 R.H. The main text comes from FE (→GE,EE), Bar 23 and analog. R.H. FE ( → GE,EE) overlooked the additional
and the variants – from A. The absence of naturals in A cannot crotchet stem next to d 2 in A.
be regarded as an obvious oversight on the part of Chopin; in L.H. The variant comes from A. In the proofs of FE (→GE,EE)
a similar context Chopin treated the melodic voice regardless of both a were tied. This is the version we give in the main text, in
the harmony – it can contain both the chord sound (raised) or its the form in which Chopin usually wrote figures of this type.
not raised counterpart. Cf. e. g. Etude in C minor, Op. 10 no. 12,
bars 33-35 & 76, and in F minor, Dbop. 36 no. 1, bars 40, 42, 46. Bars 24 and 92 The mordents were added during the proof-
reading of FE ( → GE,EE).
p. 30
Bars 272–273 L.H. FE ( → GE,EE) overlooked a tie sustaining f. p. 32
Bars 37, 39, 41,43 and analog. R.H. In A Chopin marked the
Bar 286 L.H. At the beginning of the bar FE (→ GE,EE)
has E . ornaments ( or ) rather carelessly: occurs certainly in
This is probably a mistake committed by the engraver, as testi- bar 37 and probably in bar 45, while the remaining ornaments
fied by a comparison of the bass line and the entire harmonic resemble mordents (bars 85–152 are marked only as a repetition
context in bars 277–284 and 285–292. of bars 17–84). FE (→ GE,EE) has only in bars 37 and 105. In
FES Chopin changed three of the printed mordents to trills (in
Bars 303–304 Between those bars A contained two other bars, bars 39, 107 and 113). The conclusions are as follows:
which Chopin ultimately deleted. However, he left, probably due — trills should be certainly executed in passages clearly marked
to carelessness, a sign referring to one of the deleted bars. by Chopin (in print or pupils’ copy) and in analogous ones
In FE (→GE,EE) this sign was unnecessarily placed in bar 304 (bars 37, 39, 45, 47 and analog.),
with the additional sign in bar 303. In FES Chopin crossed out — we cannot exclude the possibility that corrections in FES
both signs. signify that Chopin wished to have trills everywhere in this frag-
ment; we note this eventuality by means of signs in brackets.

Bars 53, 69, 81 and analog. The dynamic markings were added
3. Waltz in A minor, Op. 34, no. 2 during the proof-reading of FE (→ GE,EE).

Sources Bars 55, 59, 63 and analog. R.H. We give grace-notes in the form
A Autograph serving as the basis for the first French edition (inac- of small quavers or semi-quavers as noted in A. In all those bars
cessible, photocopy in the Fryderyk Chopin Museum, Warsaw). FE1( → EE) has quavers, GE and FE2 — semiquavers. Original-
FE1 First French edition, M. Schlesinger (M.S. 2716), Paris December ly, Chopin marked those ornaments as mordents ( ), as evid-
1838, based on A and twice corrected, presumably by Julian Fon- enced by the deletion of those signs in A (one of them, in bar
tana. It is highly probable that Chopin took part in the proof-reading. 79, remained overlooked despite the addition of grace-notes).

6
 Source Commentary

p. 34
Bars 121–136 R.H. In FED Chopin added the following voice, an 5. Waltz in A flat major, Op. 42
imitative counterpoint of the main melodic line:
Sou rces
[A] There is no extant autograph.
FE First French edition, Pacini (3708), Paris:
121
FE0 Proof copy of FE, based on [A].
FE1 Completed FE, corrected and supplemented by Chopin, June
1840. There are copies of FE1 with different addresses of the
publisher on the covers.
FED, FEJ — as in Waltz in E , Op. 18.
127 FEG Copy of FE0 with supplements and corrections added by Chopin,
intended as the base for the first German edition (private collec-
tions, photocopy rendered available to the editors of the National
Edition by Prof. Paul Badura-Skoda of Vienna).
132
GE1 First German edition, Breitkopf & Härtel (6419), Leipzig July 1840,
This is probably a variegation improvised by Chopin during a pu- based on FEG. It was not corrected by Chopin. GE1 includes
pil’s performance and written down upon her request. The execu- a number of errors and contains traces of publisher’s adjustments.
tion of both voices with one hand appears to be improbable — There are copies of GE1 with different prices on the covers.
GE2 Second German edition (same firm and number), after 1852;
the excessive distance would require multiple arpeggiation, un-
some of the mistakes of GE1 were corrected and a number of
wieldy from the viewpoint of execution and sonority; this is the
arbitrary changes were introduced.
reason why we treat this insert only as a curiosity, and do not in-
GE3 Revised impression of GE2, c. 1867, introducing i.al. an arbitrary
troduce it into the musical text.
change in bar 260.
p. 35 GE = GE1, GE2 and GE3.
Bars 170–171 L.H. FEJ contains unclear signs, possibly fingering
numbers. We do not take them into consideration due to the fact EE First English edition, Wessel & C o (W & C o 3559), London June
that they would be contrary to Chopin’s fingering in other sources. 1840. It is based on a proof copy of FE (probably identical with
FE0) with annotations by Chopin. EE was not corrected by the
Bar 174 R.H. The note c 1 in the first chord in GE2 (→ GE3) was composer and contains traces of publisher’s adjustments. There
arbitrarily (mistakenly?) removed. are copies of EE with different title pages.

Editorial Principles
Each of the three first editions was based on the proofs of FE read by
4. Waltz in F major, Op. 34, no. 3 Chopin. The introduced changes as a rule are not the same, although
in the majority of cases they could be regarded as mutually supplemen-
tary. We introduce them into the text of FE0, based directly on [A],
Sources
while adhering to the following principles:
[A] There is no extant autograph.
– Chopin’s concurrent corrections in at least two editions are included
FE First French edition, M. Schlesinger (M.S. 2717), Paris December
directly into the main text;
1838, based on [A] and corrected, presumably by Julian Fontana.
– alterations introduced only into one of the editions are treated
It is highly probable that Chopin took part in the proof-reading.
facultatively (variants, markings in parentheses); this holds true also for
FED, FES, FEJ — as in Waltz in E , Op. 18. those passages which Chopin corrected differently in various editions.
GE First German edition, Breitkopf & Härtel (6034), Leipzig Decem- We also take into consideration his annotations in pupils’ copies.
ber 1838, most probably based on the proofs of FE. GE includes
a number of obvious errors and contains traces of publisher‘s p. 41
Bar 1 The marking is found in FEG ( → GE) and EE, while
adjustment; it was not corrected by Chopin. There are copies of Vivace is only in EE.
GE with different covers or the heading.
EE First English edition, Wessel & C o (W & C o 2282), London De- Bars 9–39 and analog. R.H. Some of the later collected editions
cember 1838, based on FE and including a number of adjust- arbitrarily added lengthening dots to the crotchets of the top
ments; it was not corrected by Chopin. There are copies with dif- voice. For this type of figuration Chopin used both manners of
ferent covers and title pages. notation, e.g. without dots in Ballade in G minor, Op. 23, bar 141
and Mazurka in B, Op. 63, no. 1, bars 91–94, and with dots in
Editorial Principles Scherzo in E, Op. 54, bars 249–253 and analog.
We accept as our basis FE and take into consideration Chopin’s annota-
tions in pupils’ copies. Bar 10 and 182 L.H. On the second and third beat FE0 has B -
p. 38
d -g chords. Chopin changed them into e -g thirds both in FEG
Bars 95 and 111 R.H. In those bars the majority of the later (→GE) and in bases for FE and EE. The absence of a corres-
collected editions arbitrarily render uniform the sonority of the ponding change in analogous bar 182 is most probably the result
end of the trill; in some was added before d 2 in bar 95, and in of an omission (when proof-reading Chopin frequently missed the
others it was removed in bar 111. The differentiation of this detail correction of one of several similar passages); consequently, in
could have been intended by Chopin in connection with the dif- this bar we also give a corrected version with lighter sounding
ferent key of the next phrase. thirds (this change was introduced already in GE2).
p. 40 p. 42
Bar 148 L.H. The tenth in the source version comprises an Bar 31 and 203 L.H. At the beginning of the bar FE has e . In bar
unjustified in sound irregularity (the Waltz is devoid of other such 31 Chopin changed it into E both in FEG (→GE) and in the base
accompaniment irregularities) and performance complication. for EE. Cf. a similar bass line in Waltz in C minor, Op. 64, no. 2,
The engraver of FE probably mistook the note b for an addition- bars 38-40 and analog. The unchanged e left in analogous
al ledger line, thus changing the top note from d1 to f 1. bar 203 seems to be the result of Chopin’s omission of a correc-
tion (see previous comment), and for this reason in the main text
Bar 152 R.H. Some of the later collected editions arbitrarily we give it in this bar as E . On the other hand, E in bar 31 seems
changed the first quaver from e1 to f 1. to be confirmed by the successive E in bar 39; therefore, the dif-
ferent shape of the end of the theme in bars 210-212 and, thus,
Bars 162–163 R.H. Some of the later collected editions arbitrarily the absence of such a repetition of this note in bar 211 can be
tied the notes c 1. considered as an argument justifying the leaving of e in bar 203.

7
Source Commentary

Bar 38 L.H. On the second and third crotchet FE (→ GE1) has Bars 149 and 157 L.H. We give the different sound of the second
open fifths a –e 1. This indubitable oversight by the engraver of crotchet in those bars according to FE ( → EE,GE1). GE2 and the
FE (cf. bar 30 as well as commentaries to bar 48, 80, 112, 172 majority of the later collected editions arbitrarily removed c 1 in
and 174) was corrected, probably by Chopin, in the basis for EE. bar 149, and one edition added this note in bar 157.

Bar 44, 52 and analog. L.H. The main text comes from FE Bar 158 R.H. In FE (→EE) the arpeggio is missing. Chopin
(→GE). The variants in bar 44, 52, 76 and 84 come from EE; this added it in FEG (although this has not been taken into consid-
(slightly easier) version could have been added by Chopin while eration in GE) and in FED.
preparing the base for this edition. Since it seems rather unlikely
that he intended to differentiate the accompaniment of this part, Bars 162-164 R.H. In FE0 slurs starting with the second beat of
which recurs upon several occasions, the variants can be applied bar 162 are missing. In FEG (→GE) Chopin added three slurs
also in other analogous bars (with the exception of bar 216, due and introduced similar supplements in the base of EE. While
to a different harmonic progression). proof-reading FE1 he prolonged the slur starting in bar 152 up to
the end of bar 164. Cf. bars 259-260.
Bar 48, 80, 112 and 172 L.H. On the second beat in FE0 there is
no c 1, probably owing to a mistaken deciphering of [A]. Chopin Bar 164 L.H. The variant comes from FE0 (→EE,GE). While cor-
added this note in FEG (→GE) and in the base for EE. In FE1 recting FE1 Chopin changed g 1 to a 1 in the chord on the second
the supplement occurs only in bar 48. beat, which we give in the main text.
p. 46
Bar 174 L.H. In FE c 1 is omitted on the second and third beat.
Bar 49 and analog. L.H. In those bars the third crotchet in FE is
Chopin supplemented this absence in FEG (→GE); EE also con-
the d 1-e 1 second. In FEG (→GE1) Chopin added g 1 in bar 49,
tains the proper version.
113 and 269. He undoubtedly intended this change to pertain
also to bar 81 and 173 (when correcting frequently recurring
Bar 196 R.H. At the beginning of the bar FE (→GE1) has, most
fragments Chopin often left some of them uncorrected; in GE2 g 1
probably mistakenly, c 2 (cf. bar 24).
was added also in those two bars). Chopin made similar supple-
ments also in the base for EE, which has the d 1-e 1-g1 chord in p. 47
Bars 208–210 The designation dim. in bars 208–209 is found
all five passages. In this situation, leaving the original version in only in EE, and sostenuto in bar 210 — in EE and FEG ( → GE).
FE should be regarded as Chopin’s inattention.
p. 43 Bars 223-226 Chopin added accents in FEG (→GE).
Bar 58 R.H. On the third crotchet FE has a staccato dot below f 2
instead of the note d 2. This error was corrected by Chopin in the Bar 230 The dynamic sign was added by Chopin in FEG.
bases for EE and GE and in FED.
p. 44 Bar 231 L.H. The second crotchet in FE (→ GE1) erroneously has
Bar 90 L.H. Some of the later collected editions mistakenly have the chord e –a –d 1. The e – b –d 1 in EE could be the result of
B as the third crotchet. a change by Chopin (this version is also found in GE2).
Bar 91 R.H. FE (→ EE,GE1) has the fifth e – b at the beginning p. 48 1
Bar 235 L.H. GE2 arbitrarily added e to the chord on the third
of the bar. GE2 changed it arbitrarily to the third g–b . crotchet.
R.H. The last semiquaver in FE (→ EE) and FEG is d 1–d 2. A com-
parison with analogous bars 231 and 247 as well as with bar 99 Bar 236 L.H. At the end of the bar FE mistakenly has a quaver
and analog. proves that this is a mistake from FE0 omitted in the rest instead of the bass key. In GE the ensuing rhythmic error
correction. GE has the correct version. was removed, reducing the last chord to the value of a quaver.
We give the most probable version from EE.
Bars 95–102 In FEG (→GE) Chopin added the marking in bar
95. The accent in bar 96 and cresc . in bars 97–102 are found Bar 237 The main text comes from FE and GE, the variant —
only in EE. from EE. In FE1 is placed only below the rests, probably
mistakenly. In GE this marking is omitted despite the fact that
Bar 103 R.H. At the beginning of the bar EE has, probably mis- Chopin wrote it in FEG.
takenly, the third g 1–b 1.
Bars 240–244 R.H. In FED Chopin marked the ossia variant in
Bar 105 and 119 In bar 105 the marking is included only in an abbreviated way. Cf. other variants of this type, consisting in
FEG (→GE), and in bar 119 – only in EE. the expansion of the figuration by an octave in Etude in F minor,
Op. 25, no. 2, bar 67, Nocturnes in F minor, Op. 48, no. 2, bars
Bars 121–122 R.H. In GE there is no tie sustaining e 1. 113–114 and in E, Op. 62, no. 2, bars 68–69 and Waltz in A ,
p. 45 Op. 34, no. 1, bars 163–164 and 167–168. In some of them the
Bars 139–140 R.H. In FE the e -c 1 sixth is not sustained to bar concept of a variant could be connected with the range of the
piano, expanded in the last years of Chopin’s life to a 4.
140: . We give the version introduced by
Bar 251 L.H. On the third crotchet GE erroneously repeated the
Chopin in FEG (→GE) and in the base for EE. previous chord.

Bars 141-142 It may be doubted whether the sustaining of all the Bars 257-261 R.H. Here, FE0 has no slurs. The slurs given in
components of the chord was Chopin’s intention. The absence of the main text were added by Chopin in FEG (→GE); they are al-
a strike at the beginning of the bar is not to be found in any other so found in EE (apart from the third one in bars 260-261). In the
of his Waltzes apart from this passage. In a similar situation the proofs of FE1 Chopin wrote a single slur over the whole phrase.
first editions of Mazurka in D, Op. 33, no 3, added, contrary to Cf. bars 162-164.
manuscript bases, ties sustaining the bass note in bars 8-9 and
24-25. It is quite possible that also in the Waltz in [A] only four Bar 260 R.H. The a 2 notes are missing in the last two chords in
notes were sustained and one, presumably the bass B , was FE0 and FEG (→GE1→GE2). Chopin added them while proof-
supposed to be repeated. reading FE1 and in the base for EE. The chords were also sup-
L.H. In GE1 the tie sustaining a is overlooked. plemented in GE3, but an arbitrary g2 was introduced in the first.

8
 Source Commentary

Bars 269-289 In FE0 these bars do not have any performance There are no traces of Chopin’s participation in the production of
markings. Chopin supplemented them in the base for EE, in FEG GE1.
and in the proofs of FE1, but differently in each of them. Mark- GE2D — second German edition of the Waltz (same firm and number),
ings without parentheses given in the main text come from FEG including a number of arbitrary changes.
(→GE), those in the footnote — from FE1. EE has an intermediate GE2op — second German edition of the whole Op. 64 (same firm and
version, which in the first part of this fragment (to the beginning number), including a number of arbitrary changes.
of bar 277) is the same as in FE1, and in a further part resembles GE2 = GE2D and GE2op. Both forms of GE2 preserved their distinct-
the one in GE; this is the reason why in bar 286 and 287 we add ness: the changes introduced therein correspond only partially;
to the GE version the accents occurring only in EE. For other dif- the majority of differences between them, taken from GE1, were
ferences between the main text and the version given in the not removed.
footnote – see commentaries to bars 273 and 281-282. GE3D , GE4D — third German edition of the Waltz, Breitkopf & Härtel
(9619), about 1858, with the text of GE2D differently arranged
Bar 273 L.H. In the bass FE and EE have only e with no dynam- on the pages, and its later (after 1861), superficially revised, im-
ic markings. In FEG (→GE) Chopin added E and . pression.
GE = GE1, GE2, GE3D and GE4D .
Bars 281–282 R.H. As the fourth quaver FE (→ GE1) has a 1 in EEC Earliest English edition, Cramer, Beale & Cie (4368), London
bar 281 and the third a 2 -c 3 in bar 282; EE has a third in both April 1848, reproducing the slightly changed text of FE. M. J. E.
bars. Doubts may arise whether the differentiation of those bars Brown (Chopin: An Index to His Works in Chronological Order,
in FE and GE1, insufficiently justified as regards sonority, is not New York 1972) maintains that this was a pirate edition.
merely a printing error. On the other hand, the authenticity of the EEW First English edition, Wessel & C o (W & C o 6321), London Sep-
EE version is not quite certain, since we cannot exclude a mis- tember 1848, based on FE with small adjustments. Chopin did
take committed by the engraver or a revision made by the pub- not take part in its production.
lisher. This is why in the main text we take into account both EE = EEC and EEW.
source versions, and in the alternative version of the ending,
given in the footnote, next to the FE and GE1 version we consid- Editorial Principles
er yet another solution – single notes (a 1 and a 2 ) in both bars; We accept as our basis A with Chopin’s corrections of FE. We also
the latter version (in GE2) is based on the premise of a mistaken take into consideration authentic annotations in pupils’ copies (with the
printing of a third instead of a single note in bar 282. exception of certain figures added into FED, whose type face and fre-
quency do not correspond to Chopin’s fingering).
Bars 284-285 FE0 has a as the last quaver in bar 284 and A
at the beginning of bar 285. This is the original version changed p. 50
Bar 1 R.H. Variant of the beginning of the Waltz comes from FED
by Chopin in FEG (→GE) and in the proofs of FE1 into the ver- where Chopin added “tr 4 mesures” (“trill 4 bars”) next to the first
sion which we give in the main text, and in the base for EE – into note. Some of the later collected editions arbitrarily added the
the version given in the footnote. sign over the first note of the basic version, given by us in the
main text.

Bars 19 and 91 L.H. Upon the basis of a photocopy of A, ac-

6. Waltz in D flat major, Op. 64, no. 1 cessible to the editors of the National Edition, it is impossible
to say whether Chopin wished to have a on the second and
Sources third crotchet of bar 19 (bar 91 is marked only in an abbreviat-
Ten-bar incipit of the R.H. part (F. Chopin and G. Sand Museum, cell ed way as a repetition of bar 19). FE ( → GE,EE) has chords a –
no. 2, Valldemosa) c 1–g 1, but the engraver could have mistaken this bar for bar 17
As Sketch of the whole Waltz in its original edition (Bibliothèque (cf. commentary to bar 92). Several versions, which in bars 11–12
Nationale, Paris). and 19–20 occur in the accompaniment in As, AI, AII and AIII,
AI, AII, AIII — three autograph/fair-copies of the not final version, as well as the crossings in those bars in A testify to the fact that
differing in numerous details: up to the very end Chopin sought a version which would be most
AI — two page-long, signed autograph with the marking Vivace apt as regards sonority and execution. The uniform form granted
(Universitätsbibliothek, Bonn), to bars 11 and 19 appears to be justified owing to the economy
AII — one page-long, unsigned autograph with the marking of sound and thinking in categories of pairs of bars (bars 17–18
Vivace, offered to Juliette von Caraman in July 1847 (Royal Col- and 19–20); this is the reason why we give this version as the
lege of Music, London), main one.
AIII — two page-long, signed autograph entitled Waltz, offered
to the Rothschild family (Bibliothèque Nationale, Paris). Bars 20 and 92 R.H. In A the sign over the third quaver is not
A Autograph of the final version of the whole opus, serving as the quite legible and resembles rather than . In bar 20 FE
basis for the first French edition (private collection, photocopy in ( → EE) has , and GE has no ornament, which could suggest
the Fryderyk Chopin Museum, Warsaw). that in FE it was introduced during the final proof-reading. In bar
FE First French edition, Brandus et Cie (B. et Cie 4743), Paris Octo- 92 all editions have (with the exception of GE2op, where this
ber 1847, based on A. Twice corrected by Chopin, who intro- sign was removed). In both bars we accept owing to the pos-
duced a number of changes. sibility of a correction of bar 20 in FE, distinct mordents in AII
FED, FES — as in Waltz E , Op. 18. and AIII, and performance praxis — in the molto vivace tempo
GE1D — first German edition of this Waltz, Breitkopf & Härtel (7715), both signs denote a mordent.
Leipzig November 1847 (August 1849?), based on the proofs of
p. 51
FE prior to the introduction of final adjustments by Chopin. Bar 34 R.H. The last quaver in A is preceded by , removed by
GE1op — first German edition of the whole Op. 64, Breitkopf & Härtel Chopin during the proof-reading of FE (→ GE,EE).
(7721), Leipzig November 1847, also based on the proofs of FE
prior to the introduction of last adjustments by Chopin. There are Bar 36 (prima volta) R.H. GE2D ( → GE3D → GE4D ) arbitrarily
copies with different covers. tied f 2 on the third crotchet with the consecutive f 2 in bar 21.
GE1 = GE1D and GE1op. Both forms of GE1 differ as regards several L.H. GE1op ( → GE2op) unnecessarily repeated the sixth a –f 1 on
details, testifying to their independent and parallel preparation. the third beat.

9
Source Commentary

Bar 36 (seconda volta) Prior to the third crotchet A ( → FE) has A, FE — as in Waltz in D , Op. 64, no. 1.
a double bar line and the word Fine. This is the remnant of the FED, FES — as in Waltz in E , Op. 18.
original end of the Waltz, in which bar 76 was succeeded by a re- GE1C — first German edition of the Waltz, Breitkopf & Härtel (7716),
petition of bars 5–36. Leipzig November 1847 (August 1849?), based on the proofs of
R.H. GE1op (→ GE2) erroneously tied a 1 on the third crotchet FE prior to the introduction of final adjustments by Chopin.
with the minim in bar 37. GE1op — first German edition of the whole Op. 64, Breitkopf & Härtel
(7721), Leipzig November 1847, also based on the proofs of FE
Bars 40–41 R.H. GE2 arbitrarily tied f 2 over bar line. prior to the introduction of last adjustments by Chopin. There are
copies with different covers.
Bar 41 L.H. On the second and third crotchet A and GE have the GE1 = GE1C and GE1op. Both forms of GE1 differ as regards sever-
chords a –c 1–g 1. During the final correction of FE ( → EE) Chopin al details, testifying to their independent and parallel preparation.
removed c 1. Superficial proof-reading by Chopin cannot be excluded.
GE2op — second German edition of the whole Op. 64 (same firm and
Bar 46 L.H. Some of the later collected editions arbitrarily added
number), introducing several arbitrary changes.
the note c 1 to the second crotchet.
GE3C — second (third?) German edition of the Waltz, Breitkopf &
Bar 50 L.H. At the beginning of the bar A and GE have c. During Härtel (10097), 1861, with numerous arbitrary supplements and
the final proof-reading of FE (→ EE) Chopin changed it to C. changes. GE3C chronologically corresponds to GE4D ; the edi-
tors of the National Edition were unable to find the possibly exist-
Bars 50–51 R.H. In A Chopin overlooked prior to g 2 in bar 50 ing copy corresponding to GE2D .
GE = GE1, GE2op and GE3C .
and prior to g 2 in bar 51. The naturals added by the reviser of
GE1 before the two notes were not corrected until GE4D . Dur- EEC Earliest English edition, Cramer, Beale & Cie (4369), London
ing the final proof-reading of FE ( → EE) Chopin supplemented the April 1848, reproducing a slightly changed text of FE. M. J. E.
overlooked signs (the text proper does not give rise to doubts Brown (Chopin: An Index to His Works in Chronological Order,
also owing to the concurrent versions of AI, AII and AIII). New York 1972) maintains that this was a pirate edition.
EEW First English edition, Wessel & C o (W & C o 6322), London Sep-
p. 52
Bars 69–72 R.H. We give the notation of trills according to A tember 1848, based on FE with small adjustments. Chopin took
( → FE → EE; GE has a notation with wavy lines, as in AI). The no part in its production.
meaning of the sign , repeated four times, could give rise to EE = EEC and EEW.
doubts. In the remaining autographs Chopin noted this fragment
as follows: Editorial Principles
We accept as our basis A together with corrections introduced by
As Chopin into FE. We take into consideration also authentic annotations
in pupils’ copies and changes in GE1, possibly made by Chopin.
p. 54
AI Bars 19 and 147 L.H. Upon the basis of an accessible photo-
graph the editors of the National Edition assume that on the se-
cond crotchet A has the third g –b . The remaining sources have
AII
a chord d –g –b . In the main text we give the A version, which
ensures a smoother link with the previous bar; Chopin applied a
AIII similar device in bar 7.
Such great variety speaks in favour of the conclusion that all no- Bars 27–28, 29–30 and analog. R.H. The main text comes from A
tations signify the same: a continuous trill across four bars. ( → FE → GE,EE; GE3C added a tie sustaining c 2 in bars 27–28);
the variants come from FED. Earlier sources indicate Chopin’s
Bar 92 L.H. In FE the first two crotchets were originally the same
hesitations: As does not have ties and AI has a tie sustaining c 2
as in bar 90: e and a –c 1–g 1. This mistaken version was re-
in bars 27–28 (this tie was also found in A, where Chopin delet-
printed in GE. During the final proof-reading of FE ( → EE) Chopin
ed it). Cf. Performance Commentary.
restored the proper accompaniment (the same as in A).
Bars 31–32 R.H. Analogously to bars 159–160 (see commentary)
Bars 93–95 R.H. The version given in the footnote is an attempt-
some of the later collected editions arbitrarily added g 1 sounded
ed interpretation of the unclear annotation made by Chopin in
on the third crotchet in bar 31.
bar 93 in FES. We have accepted that Chopin wished to achieve
variegation by introducing the original (As) version of bars 93
Bars 32 and 160 L.H. At the beginning of the bar A and GE have
and 95.
c . During the final proof-reading of FE ( → EE) Chopin changed
p. 53 it to C .
Bars 120–121 R.H. Here FED has a not quite legible verbal
addition by Chopin. Presumably, this was an on-the-spot lesson p. 55
Bars 33 and 161 The sources do not mark a change of tempo at
directive, e.g. drawing attention to an expanded version of the
the first appearance of the figurative section (bar 33). Its final
passage at the end of the Waltz: ici octava (?).
recurrence in bar 161 in A ( → FE → EE) has più mosso , which is
absent in GE. It seems improbable that Chopin intended a sec-
tion, which is repeated three times without any changes, to be
performed in different tempi. Since in the second half of the
7. Waltz in C sharp minor, Op. 64, no. 2 Waltz (from bar 97) A is written in an abbreviated manner, we
cannot exclude the possibility that in bar 161 Chopin automat-
Sources ically repeated the marking from bar 97 (where it was required
As Sketch of the whole Waltz in the original edition (Bibliothèque de after più lento in bar 65). The absence of the marking in GE
l’Opéra, Paris). could be then the result of Chopin’s proof-reading. This is the
AI Autograph of the not final version, offered to Baroness de Roth- reason why in bar 161 we give più mosso in brackets. Cf. Per-
schild (Bibliothèque Nationale, Paris). formance Commentary.

10
 Source Commentary

1 p. 57 1
Bars 34, 42 and analog. L.H. The presence of notes c on the Bar 128 L.H. GE3C arbitrarily added c to the sixth on the sec-
second and third crotchet gives rise to doubts. In this type of sit- ond crotchet.
uation it is very difficult to establish in Chopin’s manuscripts p. 58
whether the eventual inner component of the chord situated on Bars 159–160 R.H. During the last proof-reading of FE (→ EE)
a ledger line really occurs. The photocopy of A accessible to the Chopin added the crochet g 1, sounded in bar 159 and sustained
editors of the National Edition renders this task impossible. FE as a minim in bar 160. This type of variegation of consecutive
( → EE) has three-note chords in bars 42, 106, 162 and 170 and repetitions of musical concepts was one of Chopin’s favourite
sixths in bars 34 and 98. GE1 corresponds to FE, with the excep- composition techniques.
tion of bar 106 where it has sixths. Since repetitions of this sec-
tion (bars 97–128 and 161–192) in A are marked only in an ab-
breviated manner as repetitions of bars 33–64, the discrepant
versions in bar 162 in FE (→ GE1,EE) and bar 106 in GE1 can be 8. Waltz in A flat major, Op. 64, no. 3
with all certainty regarded as mistaken (in GE2op uniformising
changes were made in those bars). There remains the question Sources
whether the three-note chords in bar 42, 106 and 170 correspond As Sketch of the whole Waltz (Bibliothèque de l’Opéra, Paris).
to Chopin’s intention. Arguments against this thesis include: A, FE As in Waltz in D , Op. 64, no. 1.
— the exclusive use by Chopin of two-note chords in adjoining bars, FED As in Waltz in E , Op. 18.
— a concurrent appearance of sixths in bars 34, 50, 58 and GE1A — first German edition of the Waltz, Breitkopf & Härtel (7717),
analog., identical as regards pitches, Leipzig November 1847 (August 1849?), based on the proofs of
— the replacement in bar 40 of chords occurring in AI with sixths FE prior to the introduction of final adjustments by Chopin.
found in A, which testifies to Chopin’s intention to simplify the GE1op — first German edition of the whole Op. 64, Breitkopf & Härtel
accompaniment, (7721), Leipzig November 1847, also based on the proofs of FE
— a large probability of an erroneous deciphering of the three- prior to the introduction of last adjustments by Chopin. There are
note chords by the engraver of FE.
copies with different covers.
This is the reason why we give sixths as the only text (a version GE1 = GE1A and GE1op. Both forms of GE1 differ as regards sever-
included also in GE3C ).
al details, testifying to their independent and parallel prepara-
tion. Chopin most probably glanced through GE1, introducing
Bar 45 and analog. L.H. On the third crotchet A and GE have the
two slight changes.
fourth a–d 1. During the final proof-reading of FE ( → EE) Chopin
GE2op — second German edition of the whole Op. 64 (same firm and
added a 1 (only in bar 189, owing to an oversight by Chopin or the
number), introducing several arbitrary changes.
engraver, this change was not introduced).
GE3A — second (third?) German edition of the Waltz, Breitkopf &
p. 56 Härtel (10098), 1861, with numerous arbitrary supplements and
Bars 64–96 In A and GE this section has four flats in the key
signature. During the final proof-reading of FE ( → EE) Chopin in- changes. GE3A chronologically corresponds to GE4D ; the edi-
troduced a notation corresponding to the tonality of this fragment tors of the National Edition were unable to find the possibly exist-
(with five flats). ing copy corresponding to GE2D .
GE = GE1, GE2op and GE3A .
Bars 66–67, 70–71, 76–77 and 92–93 R.H. Sources indicate EE First English edition, Wessel & C o (W & C o 6323), London Sep-
Chopin’s hesitations as to the repeating or sustaining of identical tember 1848, based on FE with small adjustments. Chopin took
notes over bar lines. As, AI, A ( → FE → EE) and FES do not have no part in its production.
ties in those passages. Ties are found in GE (possibly added by
Chopin in the proofs of GE1) and FED (in his handwriting). GE Editorial Principles
also has ties joining d 3 in bars 75–76 and 91–92, but their ab- We accept as our basis A together with corrections introduced by
sence in FED shows that either they were added by the reviser Chopin into FE and GE1. We take into consideration also authentic
of GE1 or Chopin subsequently resigned from them. annotations in a pupil’s copy.
Two extant pupils’ copies testify that Chopin accepted both pos- p. 61
sibilities in the execution by his pupils. We thus give the version Bar 49 R.H. In A the four-quaver motif has the form of f 1–g 1–g 1–d1.
occurring in basic sources with repeated notes as the main ver- Chopin corrected it both in FE and, most probably, in GE1, but
sion, and the version with ties noted in FED — as the variants. differently in each of them. We give both versions: the GE ver-
sion in the main text, and the FE (→ EE) version in the variant.
Bars 71–72 L.H. In A ( → FE → GE1C ,EE) there is no tie sustaining p. 62
g 1. Chopin added it in FES. GE1op and GE2op do not have both Bars 57–60 R.H. Prior to the second quaver in bar 57 A has .
ties in this passage; GE3C contains the correct version. This means that despite the oversight of corresponding naturals
in bars 58–59 Chopin envisaged d 2 in the whole four bars. This
Bar 76 L.H. At the beginning of the bar A and GE have the version was introduced into GE via the proofs of FE; the former
crotchet g . During the final proof-reading of FE ( → EE) Chopin supplemented the missing naturals. During the second proof-
changed it to the version (accepted by us) with the sustained reading of FE Chopin changed in bar 57 to , in this way lower-
chord. ing the top notes in bars 57–60 to d 2. The change of the L.H.
part in bar 60 in GE, most probably introduced by Chopin (see
Bars 81–82 R.H. FE ( → EE) do not have the tie sustaining f 2, below), entitles us to presume that the naturals in bars 58–59
present in A and added in GE, possibly by Chopin. could have been added by him. This is the reason why in the
main text we give the GE version and in the variant — the FE
Bar 86 L.H. Some of the later collected editions arbitrarily changed ( → EE) version.
the lower note of the second crotchet from b to b .
Bar 60 L.H. The last chord in A ( → FE → EE) is g –a–e 1 (our vari-
Bars 87–88 L.H. The overwhelming majority of the later collected ant). In the proofs of GE1 it was changed, most likely by Chopin,
editions arbitrarily added ties sustaining c 1–g 1. into a–e 1–f 1.

Bar 92 During the last proof-reading of FE (→ EE) Chopin added Bars 61–62 L.H. GE3A arbitrarily removed notes f 1 from the
the marking poco ritenuto. chords.

11
Source Commentary

Bars 75–76 L.H. GE overlooked the tie sustaining c. p. 64

Bars 143–144 R.H. In A there are no naturals prior to the sixth
1
Bars 76–77 R.H. In A the minims g are not tied. The tie occur- quaver in bar 143 and the fourth quaver in bar 144. This pre-
sumed oversight by Chopin is testified by the presence of nat-
ring in FE (→ GE,EE) is probably the outcome of an error made
urals in As and their supplementation in the last corrections of
by the engraver. Additional evidence of the fact that Chopin in-
tended to repeat g 1 in bar 77 is the slur-tenuto over this note. FE (→ EE). GE added only raising d 2 to d 2 in bar 144.
p. 63 p. 65
Bars 97–98, 101–102 and 105–106 R.H. Some of the later col- Bar 152 L.H. Some of the later collected editions arbitrarily sup-
lected editions (in bars 97–98 already GE2op) arbitrarily added plemented chords on the second and third crotchet, to resemble
ties sustaining chords over bar lines. bar 150.

Bar 107 R.H. In the first chord some of the later collected edi- Bars 160–164 L.H. A and GE have the following accompaniment:
tions arbitrarily changed the lower note from f 1 to g 1.

Bar 109 During the final proof-reading of FE ( → EE) Chopin

added the designation sostenuto. During the final proof-reading of FE ( → EE) Chopin removed cer-
tain notes, creating an inner melodic line: g–d 1–c 1–a – etc.
Bars 109–110 and 125–126 R.H. In A there are no ties sus-
taining e 1, added by Chopin during the proof-reading of FE Jan Ekier
( → GE,EE). Paweł Kamiński

12