Chopin’s next waltzes, the three that make his opus 34, appeared some years later. The second of the set was the earliest to be composed and was written in 1834. The opening waltz was written the following year, and the last in 1838, which was also the same year that the three together were published. Perhaps nothing more than a curious observation, each of the three waltzes approximate the corresponding movements of the Classical sonata: the lengthy A-flat Waltz serving as its first movement, the Lento Waltz in A minor as its slow movement, and the brief F major Waltz as its witty finale.
Waltz in A minor
With the A minor waltz, the second of opus 34, the listener gets the first glimpse of the pieces Chopin would later create within the waltz form. Marked Lento, it unfolds in a marvelously conceived rondo form. Quite remarkably, it opens without introduction, and the first theme, which mournfully winds its way around the dominant is announced in the tenor voice, over a tonic pedal in the bass and the accompanying chords above marked legato. After a literal restatement, this theme gives way to a second theme in A minor of even more pathetic mien, which opens with poignant sighs and closes with a dolefully descending figure against sustained tones in the highest voice. From the depths of this remorse comes the final theme of this opening section, a C major tune (though still heavily influenced by the tonic key) that is perhaps the most waltz-like melody in the piece. As this melody begins to come to a close in A minor, Chopin transitions into the piece’s episode. A beautiful, lyrical melody in the parallel major key sings out, only to be repeated, in a truly inspired moment, in the minor mode with bittersweet colorings of Neapolitan harmonies.
Chopin then reprises the opening section, with the exception of the first theme, as well as the remarkable A major/minor episode. Following the episode’s close, the absent first theme returns to dominant the closing section of the waltz. Its first statement gives way to passage of eighth notes that briefly touches upon the key of C major, which in turn leads into twelve stunningly beautiful measures in E major, played pianissimo. A final statement of the A minor first theme then returns to close the piece. Joseph DuBose
Recorded live in Carnegie Hall, New York, in 1993.
Classical Music | Piano Music
Frédéric Chopin
Waltz op. 34, no. 2 Play
Recorded on 01/01/1993, uploaded on 05/24/2015
Musician's or Publisher's Notes
Chopin’s next waltzes, the three that make his opus 34, appeared some years later. The second of the set was the earliest to be composed and was written in 1834. The opening waltz was written the following year, and the last in 1838, which was also the same year that the three together were published. Perhaps nothing more than a curious observation, each of the three waltzes approximate the corresponding movements of the Classical sonata: the lengthy A-flat Waltz serving as its first movement, the Lento Waltz in A minor as its slow movement, and the brief F major Waltz as its witty finale.
Waltz in A minor
With the A minor waltz, the second of opus 34, the listener gets the first glimpse of the pieces Chopin would later create within the waltz form. Marked Lento, it unfolds in a marvelously conceived rondo form. Quite remarkably, it opens without introduction, and the first theme, which mournfully winds its way around the dominant is announced in the tenor voice, over a tonic pedal in the bass and the accompanying chords above marked legato. After a literal restatement, this theme gives way to a second theme in A minor of even more pathetic mien, which opens with poignant sighs and closes with a dolefully descending figure against sustained tones in the highest voice. From the depths of this remorse comes the final theme of this opening section, a C major tune (though still heavily influenced by the tonic key) that is perhaps the most waltz-like melody in the piece. As this melody begins to come to a close in A minor, Chopin transitions into the piece’s episode. A beautiful, lyrical melody in the parallel major key sings out, only to be repeated, in a truly inspired moment, in the minor mode with bittersweet colorings of Neapolitan harmonies.
Chopin then reprises the opening section, with the exception of the first theme, as well as the remarkable A major/minor episode. Following the episode’s close, the absent first theme returns to dominant the closing section of the waltz. Its first statement gives way to passage of eighth notes that briefly touches upon the key of C major, which in turn leads into twelve stunningly beautiful measures in E major, played pianissimo. A final statement of the A minor first theme then returns to close the piece. Joseph DuBose
Recorded live in Carnegie Hall, New York, in 1993.
courtesy of YouTube
More music by Frédéric Chopin
Ballade N° 3 in A♭
Waltz Op 64 / 2
Mazurka Op. 33 No. 1 in g-sharp minor
Nocturne in D-flat Major, Op. 27, No. 2
Prelude in F major, Op. 28, No. 23, Moderato
Barcarolle in F-sharp Major, Op. 60
Fantasy, Op. 49
Fantaisie-Impromptu in C-sharp Minor, Op. 66
Impromptu no. 3 in G-flat major, op. 51
Etude Op. 10, No. 11
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