Microsoft Word youngmi moon dissertation docx

 
25 
the arbitrary changes made by the publishers helped to create the different versions that exist 
today. 
 
The two Opus 69 waltzes were composed earlier than those of Opus 64, but were 
published posthumously and at different times. These two posthumously published waltzes exist 
in several versions. The A-flat Major Waltz, Opus 69, no. 1, has three extant autographs. The 
1835 version (the most probable date of composition) includes numerous detailed performance 
indications, such as dynamic and pedal markings.
96
 The second version, a signed manuscript 
from 1837, has differences of notes in measures 16, 22, and 48, and more elaborated phrase 
markings overall compared to the first version.
97
 The last revision dates from 1842. This version 
has only a few performance markings, such as slurs, some staccatos, and accents in two different 
measures.
98
  
The B Minor Waltz, Opus 69, no. 2, was composed and published prior to the A-flat 
Major Waltz, with a composition date of 1829 and a publication date of 1852 in Poland.
99
 No 
autograph copies of this waltz are in existence today. Rather, there are only extant copies, which 
differ from one another in terms of notes, rhythms, ornamentation, performance markings, and 
measure numbers.
100
  
The two waltzes from Opus 69 were first published as a set in 1855 in both Berlin and 
Paris. In the Berlin publication, these two waltzes were published as Opus 69, but in Paris they 
were published without any opus number.
101
 Both of these 1855 publications were edited by 
Julian Fontana, a friend of Chopin’s. From my work comparing several different editions, I 
                                                 
96
 Jan Ekier and Paweł Kamiński, “Source Commentary,” In Walce: Published Posthumously by Fryderyk Chopin, 
The Complete Works, series B, vol. 27 (Warsaw: National Edition of the Works of Fryderyk Chopin, 2007), 12. 
97
 Ibid. 
98
 Ibid. 
99
 Maurice John Edwin Brown, Chopin: An Index of his Works in Chronological Order. 2nd rev. ed. (London: 
Macmillan, 1972), 38.  
100
 Ekier and Kamiński, “Source Commentary,” Walce, series B, 4-8. 
101
 Brown, xiii-xiv. 

---

 
26 
recognized that the Fontana version has been considered very important as a main source for 
performance editions. However, Jan Ekier, the chief editor of the National Edition of Works of 
Fryderyk Chopin, has claimed that the Fontana version was a combination of several sources and 
included some arbitrary changes in notes, performance markings, and measure numbers.
102
 
Overview of Five Selected Editions  
From the various editions of the Chopin waltzes that are in print today, five have been 
selected for this project: the G. Schirmer Edition from 1879; The Fryderyk Chopin Institute 
Polish Music Publications Edition (Paderewski) of 1949; the G. Henle Edition of 1978; the 
Alfred Masterwork Edition from 2007; and the National Edition of the Works of Fryderyk 
Chopin of 2001 and 2007. These will, henceforth, be referred to as the Schirmer, Paderewski, 
Henle, Alfred, and National editions, respectively. 
The Schirmer edition was selected as one of these five editions because it was edited by 
one of Chopin’s pupils, Carl Mikuli. First published in 1879 in Leipzig, it was reprinted by 
Schirmer in 1949. This edition includes one version of each waltz. According to Derek Melville 
in his 1977 book, Chopin, the principal source for the Schirmer edition is the first French edition, 
as well as the lesson notes from Chopin for the Opus 64 waltzes.
103
 The Schirmer edition 
provides two articles in the preface: “Frédéric François Chopin” by Mikuli; and “The Waltzes” 
by James Huneker. This edition is the most highly edited of the five recommended editions – 
these edits are meant to be helpful for the performer. It is precisely because of that additional 
editing that this edition is probably the least authentic of these five selected editions. 
The second selected edition is the Paderewski edition, commonly referred to by pianists 
as such because Ignacy Jan Paderewski was the chief editor. This edition was included among 
                                                 
102
 Ekier and Kamiński, “Source Commentary,” Walce, series B, 5 & 13. 
103
 Derek Melville, Chopin: A Biography, with a Survey of Books, Editions, and Recordings (London: Bingley, 
1977), 82. 

---

 
27 
the five selected editions because it has remained very popular among piano teachers and pianists 
in general. The Paderewski edition includes one version each of the Opus 64 waltzes, and two 
versions of the Opus 69 waltzes. The editors include details of the source materials, including the 
first editions and autograph copies. The Paderewski edition draws upon many different sources 
for the waltzes.  
The Henle edition is the third selected edition. It was included because of its general 
importance as a publishing house. The publication date for the Henle edition of the waltzes is 
1978. Like the Paderewski, this edition includes one version of the Opus 64 waltzes, and two 
versions of those from Opus 69, but the source material for these alternative versions is 
somewhat different in the Henle. The Henle edition provides some documentation of editorial 
issues, and one of the main characteristics of this edition is that it prioritizes early autographs 
over later copies.  
The Alfred edition, edited by Willard Palmer, is the fourth selected edition. This edition 
was included in this document because of its popularity among independent piano teachers in the 
United States. The first Alfred edition of the Chopin waltzes was published in 1984 and included 
17 waltzes. The 2007 edition added two more waltzes, both of which are in E-flat major, and 
includes a compact disc recording by the Turkish pianist, Idil Biret. Further, the Alfred edition is 
almost identical with the Henle edition with only a few differences. The Alfred edition includes 
one version of each waltz. The preface indicates that autograph copies and first editions were the 
primary sources for the editing. In addition, the preface provides very brief historical information 
about Chopin’s waltzes and instructions on how to play the ornaments.  
Finally, the National edition was included because it is one of the new scholarly editions 
and is edited by Jan Ekier and Paweł Kamiński. The National edition of the Opus 64 waltzes was 

---