28
published in 2001 and includes one version of each of the three waltzes from this opus, while the
Opus 69 waltzes were issued in 2007 and includes four versions of each waltz. The main source
for the Opus 64 waltzes is the first French edition. The posthumous Opus 69 waltzes prove to be
a bit more complicated and are based on a variety of sources, including several autograph copies
and the First French, German, and Polish editions. Overall, this edition is one of the very best
editions of Chopin’s works to date, providing very detailed research relating to editorial and
performance issues. Moreover, the edition provides Chopin’s original fingerings, which are in
bold type compared to the editor’s fingerings in italic type.
Comparing Five Editions of Chopin Waltzes: Opus 64 and 69
Waltz in D-flat major, Op. 64, no. 1
Overall, I recommend the National edition for this waltz. The main reasons are its clear
layout, extra performance markings, and closeness to the original sources. In comparing layout,
the Schirmer edition has smaller note sizes and not enough space between systems, and the
Paderewski edition does not have good pagination. In comparing fingerings, the Schirmer and
Paderewski editions provide the largest amount of fingerings, which is the one of the teacher’s
main considerations. Although the National edition did not provide many fingerings, in my
opinion, the fingerings they did provide are smoother and work better than the fingerings from
the Schirmer and Paderewski editions. The Henle edition had the fewest finger markings, and I
found some of these to be awkward.
In comparing dynamic markings, there were numerous differences, ranging from slightly
different length of markings to completely opposite dynamic markings. Overall, the National
edition provides more dynamic markings, and the length of dynamic markings is matched well to
the phrase markings. In comparing phrase markings, the National and Henle editions provide
29
detailed phrase markings, and these are more uniform across the whole waltz. One of the most
helpful markings for teaching was the National edition’s extra performance marking taken from
Chopin’s pupil’s copy.
104
A dashed line in the cadenza passage at the end of the waltz, mm. 121-
124, indicates that the A♮
4
of the right hand should be sounded with the A♭
2
of the left hand, so
that the hands are lined up together rhythmically once again (Ex. 3.1).
Example 3.1: Frédéric Chopin, Waltz, Op. 64, no. 1, mm. 121-124 (National edition)
There are several major differences in ornaments, ties, and notes. The National edition
seems to be closest to Chopin’s intention based on the large amount of cited evidence. One of the
major differences in ornaments is in the beginning of the waltz. The Paderewski edition has a
trill sign on the first note in m. 1, while the National edition provides a four measure long trill
sign in mm. 1-4 in ossia (Ex. 3.2).
104
Jan Ekier and Paweł Kamiński, “Source Commentary,” In Walce: Op. 18-64 by Fryderyk Chopin, The Complete
Works, series A, vol. 11 (Warsaw: National Edition of the Works of Fryderyk Chopin, 2001), 3.
30
Example 3.2a: Frédéric Chopin, Waltz, Op. 64, no. 1, m. 1 (Paderewski edition)
Example 3.2b: Frédéric Chopin, Waltz, Op. 64, no. 1, mm. 1-4 (National edition)
The other editions, including the main version of the National edition, do not have a trill
sign at the beginning of the waltz. No trills appeared in the first editions, but those trills were
taken from Chopin’s pupil’s copies later. It seems that the Paderewski edition is less authentic
because the editors of National edition pointed out the trill sign on the single note was an
arbitrary change.
105
Eigeldinger stated “In the Dubois score the opening A-flat has the penciled
105
Ibid.
31
annotation 4 measures above it (not in Chopin’s hand), and underneath the note is penciled
similarly tr.”
106
In terms of ties, all five selected editions have a similar tie in the Aʹ′ section. However, in
the other sections, the Paderewski and Schirmer editions suggested a tie in m. 36 and m. 40. The
Alfred edition has a tie only in the first ending, and the Henle edition indicated parenthesis
around the ties (the performer can choose to play or not play the tie) in this same measure.
Further, the National edition discussed that the ties in the waltz are possibly arbitrary changes
found in the first German edition.
107
In comparing notes, many of the differences between the editions are found in the chordal
left-hand accompaniment. The National edition tends to use predominately two-note chords, in
contrast to the three-note chords in the Henle edition. In addition, there was a registral difference
of an octave in m. 50 of the Henle edition; only the Henle edition uses C
2
instead of C
3
for this
left-hand note. The editors of the National edition state that Chopin changed to the lower C at the
final proofreading of the first French edition.
108
Therefore, the National edition is the edition I
recommend for the D-flat Major Waltz because of good editing practices, the abundance of
performance markings, and the careful research.
Waltz in C-sharp minor, Op. 64, no. 2
The edition I recommend for the C-sharp Minor Waltz is the National edition, while the
edition I least recommend is the Schirmer edition. The main reason for these recommendations is
the dynamic and phrase markings. The National edition provides the most dynamic markings.
Moreover, its dynamic signs are matched to the phrase markings and consistent throughout the
whole waltz. In contrast, the Schirmer edition provides phrase and dynamic markings that are
106
Eigeldinger, 158.
107
Ekier and Kamiński, “Source Commentary,” Walce, series A, 10.
108
Ibid.
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