35
signs.
114
Further, they pointed out that the first German edition was based on the first French
edition, which includes natural signs in mm. 57-60.
115
However, in the second proof reading of
the first French edition by Chopin, he may have changed to flat signs in mm. 57-60 along with
changing the left-hand chord in m. 60.
116
Finally, the National edition includes the secondary
version written in ossia.
Waltz in A-flat major, Op. 69, no. 1
Ten versions of this waltz are available from the five selected editions for this document.
Although the versions of this waltz in the five selected editions are based on the same main
sources, several significant differences do exist between them.
In comparing measure numbers, the differences were based on whether or not a repeat
was taken (Table 1).
117
The A-flat Major Waltz has a three-part form: “waltz 1” (Theme A);
“waltz 2” (Theme b); and trio (Theme c and d). The most measure numbers occur in the versions
based on the Fontana version. Fontana edited the first edition of the Opus 69 waltzes, and this
edition has been used as a main source for most performance editions. According to Ekier,
Fontana’s editions characteristically tend to be longer.
118
The editions that are based on
Fontana’s editions are found in the Alfred, Henle (2nd), National (4th), Paderewski (1st), and
Schirmer editions. The Henle (1st) and National (2nd and 3rd) editions are longer than those
listed in the previous sentence. And these versions are based on the earlier autographs. The
shortest versions were found in the National (1st) and Paderewski (2nd) editions.
114
Ekier and Kamiński, “Source Commentary,” Walce, series A, 11.
115
Ibid.
116
Ibid.
117
The big letter indicates 16 measures, and the small letter indicates 8 measures. This is from Eric McKee’s
Analysis in his 2011 book, Decorum of the Minuet, Delirium of the Waltz.
118
Ekier and Kamiński, “Source Commentary,” Walce, series B, 7.
36
Table 1: Comparing the Structures and Total Measure Numbers of Frédéric Chopin, Waltz, Op.
69, no. 1
Structure
Total Measure Numbers
Alfred
Henle
National (4th)
Paderewski
Schirmer
AA bb A bb A cc dc dc A
160
Henle (1st)
National (2nd & 3rd)
AA bb A cc dc dc A
128
National (1st)
Paderewski (2nd)
AA bb A cc dc A
112
The most significant differences were in pitches. Those occurred in every section in all
five editions. There were many differences between pitches in the left hand in the A section,
secondary melodies in the B section, and endings in the C section. In the D section, the rhythmic
organization produces different notes depending on the edition.
I recommend the first three versions in the National edition for students from early- to
late-intermediate levels. These versions are printed in two pages with fewer repeat signs while
the most of the other versions are printed over 3 or 4 pages. I recommend the third version of
National edition for teaching in the early-intermediate level. This version has a less ornamented
melody, simpler rhythms, and an easier left hand, particularly in the B section. The next easiest
version is the second version because of a less ornamented melody and a slightly easier left hand
in comparison to the first version. The best assets of the second version are the shorter phrase
markings and more dynamic markings than the other two versions in the National edition. The
most difficult version out of all ten is the first version of the National edition because it includes
a more independent left hand and more notes in the right-hand embellishments. In particular, this
version often has an extra single decorative note added in the melody. Furthermore, the first
37
version has few performance markings, so I recommend this version for teaching late
intermediate students who are ready to create their own interpretation. The most helpful
indications in the first and second versions are Chopin’s authentic pedal indications.
119
I do not recommend any version that is based on the Fontana version. Jan Ekier, the chief
editor of the National edition, showed that the Fontana version mixed several different sources,
including arbitrary changes by Fontana.
120
Furthermore, the Fontana version has “rhythmic
shifting” in the entire D section from an extra quarter note caused by Julian Fontana’s arbitrary
changes, and this edition has cancelled most of the accidentals in the melody, which destroyed
Chopin’s linear chromaticism (Ex. 3.4).
121
Example 3.4a: Frédéric Chopin, Waltz, Op. 69, no. 1, D section (1st version of the National
edition, based on the later autograph)
119
Ibid., 2.
120
Ibid., 13.
121
Ibid.
38
Example 3.4b: Frédéric Chopin, Waltz, Op. 69, no. 1, D section (3rd version of the National
edition, based on the Fontana’s version)
Waltz in B minor, Op. 69, no. 2
There are numerous differences between the different versions of the B Minor Waltz.
These different versions have arisen because of the lack of an extant autograph and the
availability of several copies of autographs. Even though all the versions of this waltz in the five
selected editions are based on the same main sources, several significant differences do exist
between them.
In comparing measure numbers, the differences were based on whether or not a repeat
was taken (Table 2).
122
The longest versions are based on the Fontana version. The editions that
are based on Fontana’s editions are found in the Alfred, Henle (2nd), National (4th), Paderewski
(1st
and 2nd)
123
, and Schirmer editions The first version of the waltz in the Henle edition is
slightly shorter than those listed in the previous sentence. The shortest versions are the first and
the second versions of the National edition. But, the first version of the National edition
indicated the performer’s choice whether to repeat or not of the B + A′. This optional version of
taking repeat of B + A′ is found in the third version of the National edition.
122
The each letter indicates 16 measures, except 15 measures in B and 17 measures in A′.
123
The 2nd version is reproduction of the Oxford University Press (1932) was edited by Edouard Ganche, a
president of the Frédéric Chopin Society in Paris, based on the original French editions, (Melville, 84).
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