May 25, 2015.Chopin’s Waltzes.With apologies to the devotees of the music of Isaac Albéniz, Erich Wolfgang Korngold and Marin Marais, all of whom were born this week, we’re publishing a longer piece by Joseph DuBose on waltzes by Frédéric Chopin.We’ll illustrate each of these concise gems with performances, some by the young artists for whom Classical Connect serves as a virtual concert stage: Bill-John Newbrough, Anastasya Terenkova, Konstantyn Travinsky, Yury Shadrin; others – by the acknowledged masters.You’ll hearthe 77 year-old Artur Rubinstein live in Moscow (you can hear him announcing the encore), Evgeny Kissin live in Carnegie Hall, Zoltan Kocsis, Philippe Entremont, the French pianist and conductor, Arturo Benedetti Michelangeli, Dinu Lipatti in a recording made in 1950, just months before his death at the age of 33; Vladimir Ashkenazy and Samson François in a 1963 recording.♫
The waltz is inextricably connected to that great musical city of Vienna. Thus, when, as a budding composer and pianist, Frederic Chopin made his debut in the city in 1829 soon after his graduation from the Warsaw Conservatory, and again visited in 1830, it is no surprise that he tried to assimilate himself into its musical culture by performing and even composing waltzes. Yet, Chopin’s Polish roots ran too deep, and he was never able to fully master the distinctive waltz style. On his return from the Austrian capital, he admitted to a friend, “I have acquired nothing of that which is specially Viennese by nature, and accordingly I am still unable to play valses.”
Chopin’s earliest waltzes roughly date from the time of his first visit to Vienna. Yet, these early attempts remained unpublished during the composer’s lifetime. Indeed, his first waltz only appeared in print after he had left Vienna for Paris, where he would remain for the rest of his life. Currently, there are eighteen known waltzes that Chopin composed, though it is believed he wrote others. However, only the first fourteen are generally numbered. Of these fourteen, only eight were published during Chopin’s lifetime—opp. 18 and 42, and the two sets of three of opp. 34 and 64. Five more were issued in the decade following Chopin’s death and make up opp. 69 and 70. Finally, two others appeared during the remainder of the 19th century—the well-known E minor waltz in 1868 and another in E major in the early 1870s. (Continue reading here).
Many of Chopin’s published waltzes attempt to capture the glamor of the dance and Viennese ballrooms. Indeed, several of them seem nearly capable of being danced to. Yet, even in these early pieces one can trace the thread leading to the distinctive character of the later waltzes, specifically those of op. 64, in which Chopin dropped all pretenses of emulating the Viennese dance for an artistic stylization of far greater import. Curiously, the posthumously published waltzes of opp. 69 and 70, while all predating op. 64 (and two even predating his first published waltz) are more in keeping with its stylized dances than the imitation of Viennese culture with which their contemporaneous pieces were more concerned. Perhaps it is for this reason that Chopin chose never to publish them.
Waltz in E-flat major, op. 18 “Grande valse brilliante”
While not the first of the waltzes to be composed (it was actually the fifth), the Waltz in E-flat major, affectionately known as the “Grande valse brilliante,” was the first to be published (here). An ebullient and effervescent piece, it remains rooted in the Viennese style Chopin attempted, but never truly, assimilated, and offers only faint glimpses of the waltzes of his more mature style.
A four measure fanfare sounded on the dominant leads directly into the waltz’s first theme. This initial theme climbs earnestly upward through the dominant and tonic chords after which it glides effortlessly back down. A slightly varied restatement of the theme then leads into a skittish second subject in A-flat major, whose principal feature is repeated-note figure marked “leggieramente.” With a repetition of both themes and another further subtle variation of the first, the opening section of the waltz comes to close. From the second theme’s close, Chopin moves without hesitation into the key of D-flat major and opens with the middle section of the waltz with a coy, little theme. This becomes the central theme of the section, alternating with three other themes: first, a jocose tune back in A-flat major that introduces duple meter against the waltz’s triple time; second, a lengthier con anima theme in G-flat major whose middle section modulates into a heavily chromatic B-flat minor with spritely grace notes; and, lastly, another lyrical idea in G-flat that ultimately gives way to the opening fanfares which announced the first theme.
The reprise of the first section initially follows much the same course as its initial statement. However, two grand pauses interrupt its flow. As the music resumes, fragments of the repeated-note motif are melded together with the chromatic descents of the earlier B-flat minor idea, after which a more drastically altered version of the first theme is heard over a tonic pedal. Briefly, a fragment of the first theme is also combined with the repeated-note motif before the music gives way to a rising scale. Reaching its summit, the final bars then begin to effervesce with a chromatically altered version of the first theme’s head motif. Another grand pause, and the waltz closes with fortissimo tonic chords.
3 Waltz, op. 34
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-flat major
The first of the opus 34 Waltzes, in A-flat major (here), is the most closely related of the three to the spirit and gaiety of the earlier Grande valse brillante. It begins with an extended sixteen-measure introduction featuring a similar fanfare-like motif, yet this time punctuated by ascending chromatic chords, and ultimately takes flight in a series of arpeggios upon the dominant. Three contrasting themes make up the opening section. The first, marked dolce, has a relaxed lyricism and moves gracefully about in an elongated quasi-turn figure. The second theme, on the other hand, abounds with a vigorous energy that erupts with virtually no warning into sweeping arpeggios. Lastly, the third theme is stated after a repeat of the previous two. It bears a close kinship to the introduction, and indeed presents itself as a sort of varied inversion of the introduction’s motif. Immediately, it is repeated in a decorative variation. With the structural weight placed upon this theme by its placement at the end of the first section, it becomes a kind of refrain throughout the waltz. It appears again to close the middle section, and its memorable closing strain becomes the impetus for the lively coda.
Moving to the key of D-flat major, the middle portion of the waltz features two themes that alternate with each other, and are concluded as mentioned before by the distinctive third theme of the opening section. The first theme, in D-flat major, channels the lyricism of the waltz’s very first melody, though somewhat enlivened by a characteristic dotted-eighth rhythm. The second theme, however, moves into the key of B-flat minor and has a peculiar “un-waltz-like” feel. Opening with a strident dominant minor ninth, it interjects a feeling of tension into this otherwise ebullient piece, and its characteristic descending motif strikes one as too dramatic for the blithe vivacity of the waltz.
The reprise of the opening section, true to form, follows much the same course and, of course, omits the repeat of its first two themes. The closing refrain of the third theme ushers in the coda and a lengthy passage of swirling eighth notes. With fragments of the third theme’s head motif, the music fades away, finally evaporating into a decorated ascent through the tonic triad before the final fortissimo chords.
Waltz in A minor
With the A minor waltz, the second of opus 34, the listener gets the first glimpse (here) 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.
Waltz in F major
The final waltz opus 34 (here) returns to ebullient tone of the first, yet in terms of length it is far shorter than its two companions. Indeed, it lacks a true “Trio” and contains only three distinctive themes, making it rather unsuitable for the dance floor. It is often referred to as the “Cat’s Waltz” in reference to the unsubstantiated claim that Chopin’s cat hopped up on his piano and traced out the opening notes of its theme.
Eight measures upon the dominant chord and a further eight more of an ascending chromatic figure serve as the piece’s introduction. The first theme of running eighth notes has a decided unmelodic character and comes across more as a perpetuum mobile. Its distinctive motif, thrice repeated, has a curious length of four beats, which then creates an interesting hemiola effect with the waltz’s triple meter. The second theme in B-flat major, on the other hand, is certainly more tuneful, though still remains more motivic than melodic. However, despite these two theme’s unique characters, it is the following third theme that becomes the waltz’s centerpiece. Each of its phrases is opened with a downward leap of a minor seventh, and followed by a lively passage of staccato quarter notes embellished with grace notes, all of which is then concluded with sprightly trills. On its second repetition the theme unexpectedly modulates into the key of D-flat major. A deft modulation returns the waltz to the tonic key and a reprise of the first theme. However, it is with fragments of the witty third theme with which Chopin chooses to close the waltz.
Waltz in A-flat major, op. 42
Considered to be Chopin’s finest waltz (here), the Waltz in A-flat major, op. 42 appeared in print in 1840, likely the same year it was composed. Like the earlier Grande Valse Brilliante and the opus 34 waltzes, it maintains the brilliance and noble mien of the dance itself, yet like all of Chopin’s creations in this genre, is not entirely suited for the dance hall.
A solitary trill, eight measures long, on the dominant serves as the introduction. The principal theme, a graceful tune that glides about the tonic key, is actually in duple meter (in this case, 6/8 meter) and is the reason for the piece’s occasional epithet of the “2/4 Waltz.” Underpinning the melody are consistent semitones and the usual triple-time accompaniment of the waltz. Following the principal theme’s restatement an octave higher, a brilliant melody of eighth-note runs is presented, and becomes a central figure of the piece by alternating with the remaining three melodies. The first melody to appear after the eighth-note runs is a brief eight-measure tune that only appears once in the entire piece. The next is somewhat riotous with a lively dotted rhythm, which later becomes an important feature towards the waltz’s conclusion. Finally, the last melody is a sostenuto theme that briefly touches upon C minor. The last measures of this melody develop into a quasi-fanfare which, via the glittering eighth-note runs, bring about the return of the opening theme.
As the waltz enters its coda, the dotted-eighth melody returns and twice precipitates a sudden key change, the first time into A major and the second into D. Each modulation, however, is deftly handled, and by means of a single chord Chopin is able to the reestablish A-flat as the tonic. Finally, the principal theme is hinted at during the final accelerando, which then drives the waltz to its vibrant conclusion.
3 Waltzes, op. 64
Composed during 1846-47, the 3 Waltzes, op. 64 were the last such works penned by Chopin before his death in 1849, and likewise the last to appear in print during his lifetime. Compared to his previous waltzes, those of opus 64 are more compact in form, yet possess a heightened clarity of expression. While none of Chopin’s waltzes were presumably composed for the dance floor, the idea of such use when applied to pieces of opus 64 is beyond consideration. Like the Allemandes, Gavottes, and Sarabandes of Bach’s keyboard suites, the waltz, for Chopin, had evolved into a musical form entirely separate from the dance itself—in essence, a stylized version of the dance.
Waltz in D-flat major, “The Minute Waltz”
The first waltz of opus 64 is the famous “Minute Waltz” (here), a name given because of its rather short length and quick tempo (Molto vivace), and for which it has suffered many artistic transgressions. Despite its nickname, the piece is never seriously performed within the timespan of sixty seconds. Chopin’s own title for the piece was “Valse du petit chien” (“The Little Dog Waltz”), since his source of inspiration was watching a dog chase its tail.
In a simple ternary design, the outer sections of the waltz grow out of the turn-like figure that winds about the dominant, unaccompanied, in the opening measures. With such a motif, one can easily imagine the humorous sight of a dog turning about in circles trying the catch its tail. Like the F major waltz that closed the opus 34 set, the motif’s length (in this case, four eighth notes) provides rhythmic interest within the prescribed triple time. Contrasting the fleeted runs of the first theme is the beautiful dolce con grazia melody of the central episode. Its subdued tone and indication to be played sostenuto grant the performer the only chance in the piece to impart his or her personality upon the piece with greater freedom of delivery. By means of a four-measure trill upon A-flat, the opening section of the waltz is reprised and concludes with a plunging, cadenza-like scalar passage to the tonic.
Waltz in C-sharp minor
Perhaps second only to the “Minute” Waltz as Chopin’s most memorable waltz is the Waltz in C-sharp minor (here). A melancholic piece full of profound grief, it betrays Chopin’s Polish origins by borrowing heavily from the rhythms of the mazurka in its principal theme. Marked Tempo giusto, it begins without introduction. The memorable first theme alternates poignant, semitone “sighs” with a two-measure rhythmic motif, after which the latter half of the theme becomes preoccupied with an eighth-note line that moves wearily atop the accompanying chords. The succeeding Più mosso, however, is the perfect contrast to the gloom of the opening theme. Passionate and rhythmic, its swirling motif comes off as a determined, yet futile, attempt to counter the earlier despair.
Occupying the central section of this waltz is a D-flat major Più lento that breathes the first sounds of consolation with its dolce melody. Unlike the other two themes of the waltz which were inevitably pulled downward, the D-flat major theme slowly ascends. Its first three phrases each beginning a tone higher, rising from the mediant to the dominant, until the third phrase leaps suddenly up to the tonic. The following slow descent then sounds like the offering of a gentle hand in support of a grieving heart. From thence, the previous two themes are reprised in reverse order. However, it is not the doleful C-sharp minor tune that closes the work, but a further statement of the impassioned Più mosso.
Waltz in A-flat major
Chopin’s final waltz (here) shuns both the frivolity and melancholy of its companions to close the set with a feeling of blithe amusement. It also only concerns itself with two distinct themes, and embodies a straightforward, simple ternary design. The outer sections present a carefree tune that habitually pauses on the third beat. Towards its conclusion, its simple amusement turns to excitement from which the Trio develops as a logical result. In the final measures of the opening section, a heroic motif consisting of the interval of a perfect fourth is heard, which then becomes a recurring impetus for the Trio’s bass theme. Against the theme, Chopin introduces a second idea in the soprano, and transforms the entire section into a quaint and charming dialogue. The reprise of the first waltz is altered from its first appearance, and rushes towards its conclusion in a vibrant coda.
2 Waltzes, op. 69
Waltz in A-flat major
The first waltz of opus 69 (here) is actually contemporaneous with the timespan of opus 34. Composed in 1835, it was parting gift to Marie Wodzinka when Chopin left Dresden to return to Paris. Chopin had fallen in love with Marie and even proposed to her. However, his being a poor musician, Marie’s parents outright rejected the possibility of a union between the two. Thus, the waltz is occasionally referred to by its nickname, “L’adieu.”
Like the latter two waltzes of opus 34, this A-flat major piece displays Chopin’s already notable progression away from the strict Viennese dance he had attempted to emulate and towards a stylized form more suitable to poetic expression. In this case, Chopin adopts a slower tempo, much as he did with the A minor waltz of that set. The principal theme, marked con espressione, is heavily tinted by the colors of the relative minor (occasionally leading some to consider the piece in F minor rather than A-flat major, yet certainly obscuring the dividing line between the two closely related tonalities), and its poignant sighs follow closely the plaintive stepwise motion of the chromatic bass. It becomes a sort of refrain throughout the piece, framing the statements of two subsidiary ideas, and giving the piece a rondo-like form.
The first episode ventures into the key of E-flat major. Marked con anima, its theme is somewhat more cheery, dancing about the dominant with playful turns and skipping arpeggio. Besides its livelier demeanor, it also borrows the characteristic accent of the third beat from the mazurka. The second episode, on the other hand, separated from the first by a brief restatement of the principal theme, is more reflective. Fully in the key of A-flat major and marked dolce, it seems to dwell on pleasant memories of the past. It is interrupted twice by an earnest, chordal passage that climbs chromatically through the A-flat major scale to close on a half cadence. Finally, without transition, the principal theme returns following the close of the second episode to conclude the waltz.
Waltz in B minor
The second waltz (here), on the other hand, was composed much earlier in 1829, predating even the Grande valse brillante, op. 18. Yet, despite its early date, it already shows Chopin giving more prominence to poetic expression than the strict style of the dance. Interestingly, the B minor waltz is one of the pieces Chopin wished to be destroyed after his death. However, as such things often go, the composer’s wishes were ignored and the piece was published in 1855.
Another slow waltz, marked Moderato, the B minor waltz is in a simple ternary design. The outer sections have two themes that alternate with each other—the first, a wistful melody in the tonic key, and the second, a con anima subject in D major. While the first theme is varied on its reappearance, the second remains unchanged. Contrasting the elegiac mood of the outer sections is a central episode in B major with a dolce melody that borrows elements of the first theme. On its second appearance, the tune is embellished with added thirds. Most notably, however, its second half, without warning slips back into the minor mode, and poignantly sets the stage for the return of the first theme.
3 Waltzes, op. 70
Waltz in G-flat major
Like the opening piece of op. 69, the Waltz in G-flat major (here), composed in 1833, is contemporaneous with the earlier op. 34 waltzes. Marked Molto vivace, it is a lively piece with energetic outer sections and a principal melody that primary is heard in the glistening upper register of the piano. The central episode, on the other hand, adopts a slower tempo (Meno mosso) and a cantabile melody with graceful dotted-eighth rhythms. A shortened reprise of the first theme then completes the waltz’s simple ternary design.
Waltz in F minor
The middle piece of opus 70 (here), the Waltz in F minor, is a fine example of the melancholic mood that tinges so many of Chopin’s works, and provides an effective contrast to the lively piece that proceeded it. Its date of composition in 1841 places it in close proximity to the earlier Waltz in A-flat major, op. 42. Two themes play out over its course. The first, in the tonic key, has a lightness that makes it more wistful than forlorn. Like those of some of Chopin’s other waltzes, it also has a tendency at times to accent the third beat of the measure. Ultimately, the first theme concludes in the relative major, in which key the second theme is heard. Overall of a more cheery disposition, it is nonetheless mindful of the principal theme’s melancholy when it briefly touches upon C minor before its repetition. Chopin repeats both themes, and thus allows the piece to conclude with the more optimistic second theme.
Waltz in D-flat major
Like the B minor waltz of opus 69, the final piece of opus 70 (here) dates from 1829, and thus predates all of the waltzes published during Chopin’s lifetime. Composed in a simple ternary design, its outer sections are marked by a graceful and charming Moderato melody, which is further embellished by the presence of delicate countermelody. The “trio” section within itself also embodies a ternary design with a livelier G-flat major tune framing a secondary idea that resembles the closing strain of the principal theme. A da capo repeat of the opening section—the only instance of such in Chopin’s waltzes, then closes the piece.
Waltz in E minor
The last of Chopin’s traditionally numbered waltz, the Waltz in E minor (here) is believed to be an early effort of Chopin in the genre, and was likely composed around 1830. Marked Vivace and following an introduction of swirling arpeggios, the principal theme is sprightly and airy, flittering about the upper register of the piano. It alternates twice with a chromatically descending passage that further lends it an impish demeanor. The central episode, at first, presents a warm, dolce E major tune. Though twice repeated, each of its further statements is preceded by a brusque, fortissimo passage in C-sharp minor which sharply contrasts with the melody’s inherent lyricism. The reprise of the opening section is greatly shortened from its original presentation. Only a single statement of the principal is given before Chopin diverts into a lively and puckish coda.
Chopin’s Waltzes
May 25, 2015. Chopin’s Waltzes. With apologies to the devotees of the music of Isaac Albéniz, Erich Wolfgang Korngold and Marin Marais, all of whom were born this week, we’re publishing a longer piece by Joseph DuBose on waltzes by Frédéric Chopin. We’ll illustrate each of these concise gems with performances, some by the young artists
for whom Classical Connect serves as a virtual concert stage: Bill-John Newbrough, Anastasya Terenkova, Konstantyn Travinsky, Yury Shadrin; others – by the acknowledged masters. You’ll hear the 77 year-old Artur Rubinstein live in Moscow (you can hear him announcing the encore), Evgeny Kissin live in Carnegie Hall, Zoltan Kocsis, Philippe Entremont, the French pianist and conductor, Arturo Benedetti Michelangeli, Dinu Lipatti in a recording made in 1950, just months before his death at the age of 33; Vladimir Ashkenazy and Samson François in a 1963 recording. ♫
The waltz is inextricably connected to that great musical city of Vienna. Thus, when, as a budding composer and pianist, Frederic Chopin made his debut in the city in 1829 soon after his graduation from the Warsaw Conservatory, and again visited in 1830, it is no surprise that he tried to assimilate himself into its musical culture by performing and even composing waltzes. Yet, Chopin’s Polish roots ran too deep, and he was never able to fully master the distinctive waltz style. On his return from the Austrian capital, he admitted to a friend, “I have acquired nothing of that which is specially Viennese by nature, and accordingly I am still unable to play valses.”
Chopin’s earliest waltzes roughly date from the time of his first visit to Vienna. Yet, these early attempts remained unpublished during the composer’s lifetime. Indeed, his first waltz only appeared in print after he had left Vienna for Paris, where he would remain for the rest of his life. Currently, there are eighteen known waltzes that Chopin composed, though it is believed he wrote others. However, only the first fourteen are generally numbered. Of these fourteen, only eight were published during Chopin’s lifetime—opp. 18 and 42, and the two sets of three of opp. 34 and 64. Five more were issued in the decade following Chopin’s death and make up opp. 69 and 70. Finally, two others appeared during the remainder of the 19th century—the well-known E minor waltz in 1868 and another in E major in the early 1870s. (Continue reading here).
Many of Chopin’s published waltzes attempt to capture the glamor of the dance and Viennese ballrooms. Indeed, several of them seem nearly capable of being danced to. Yet, even in these early pieces one can trace the thread leading to the distinctive character of the later waltzes, specifically those of op. 64, in which Chopin dropped all pretenses of emulating the Viennese dance for an artistic stylization of far greater import. Curiously, the posthumously published waltzes of opp. 69 and 70, while all predating op. 64 (and two even predating his first published waltz) are more in keeping with its stylized dances than the imitation of Viennese culture with which their contemporaneous pieces were more concerned. Perhaps it is for this reason that Chopin chose never to publish them.
Waltz in E-flat major, op. 18 “Grande valse brilliante”
While not the first of the waltzes to be composed (it was actually the fifth), the Waltz in E-flat major, affectionately known as the “Grande valse brilliante,” was the first to be published (here). An ebullient and effervescent piece, it remains rooted in the Viennese style Chopin attempted, but never truly, assimilated, and offers only faint glimpses of the waltzes of his more mature style.
A four measure fanfare sounded on the dominant leads directly into the waltz’s first theme. This initial theme climbs earnestly upward through the dominant and tonic chords after which it glides effortlessly back down. A slightly varied restatement of the theme then leads into a skittish second subject in A-flat major, whose principal feature is repeated-note figure marked “leggieramente.” With a repetition of both themes and another further subtle variation of the first, the opening section of the waltz comes to close. From the second theme’s close, Chopin moves without hesitation into the key of D-flat major and opens with the middle section of the waltz with a coy, little theme. This becomes the central theme of the section, alternating with three other themes: first, a jocose tune back in A-flat major that introduces duple meter against the waltz’s triple time; second, a lengthier con anima theme in G-flat major whose middle section modulates into a heavily chromatic B-flat minor with spritely grace notes; and, lastly, another lyrical idea in G-flat that ultimately gives way to the opening fanfares which announced the first theme.
The reprise of the first section initially follows much the same course as its initial statement. However, two grand pauses interrupt its flow. As the music resumes, fragments of the repeated-note motif are melded together with the chromatic descents of the earlier B-flat minor idea, after which a more drastically altered version of the first theme is heard over a tonic pedal. Briefly, a fragment of the first theme is also combined with the repeated-note motif before the music gives way to a rising scale. Reaching its summit, the final bars then begin to effervesce with a chromatically altered version of the first theme’s head motif. Another grand pause, and the waltz closes with fortissimo tonic chords.
3 Waltz, op. 34
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-flat major
The first of the opus 34 Waltzes, in A-flat major (here), is the most closely related of the three to the spirit and gaiety of the earlier Grande valse brillante. It begins with an extended sixteen-measure introduction featuring a similar fanfare-like motif, yet this time punctuated by ascending chromatic chords, and ultimately takes flight in a series of arpeggios upon the dominant. Three contrasting themes make up the opening section. The first, marked dolce, has a relaxed lyricism and moves gracefully about in an elongated quasi-turn figure. The second theme, on the other hand, abounds with a vigorous energy that erupts with virtually no warning into sweeping arpeggios. Lastly, the third theme is stated after a repeat of the previous two. It bears a close kinship to the introduction, and indeed presents itself as a sort of varied inversion of the introduction’s motif. Immediately, it is repeated in a decorative variation. With the structural weight placed upon this theme by its placement at the end of the first section, it becomes a kind of refrain throughout the waltz. It appears again to close the middle section, and its memorable closing strain becomes the impetus for the lively coda.
Moving to the key of D-flat major, the middle portion of the waltz features two themes that alternate with each other, and are concluded as mentioned before by the distinctive third theme of the opening section. The first theme, in D-flat major, channels the lyricism of the waltz’s very first melody, though somewhat enlivened by a characteristic dotted-eighth rhythm. The second theme, however, moves into the key of B-flat minor and has a peculiar “un-waltz-like” feel. Opening with a strident dominant minor ninth, it interjects a feeling of tension into this otherwise ebullient piece, and its characteristic descending motif strikes one as too dramatic for the blithe vivacity of the waltz.
The reprise of the opening section, true to form, follows much the same course and, of course, omits the repeat of its first two themes. The closing refrain of the third theme ushers in the coda and a lengthy passage of swirling eighth notes. With fragments of the third theme’s head motif, the music fades away, finally evaporating into a decorated ascent through the tonic triad before the final fortissimo chords.
Waltz in A minor
With the A minor waltz, the second of opus 34, the listener gets the first glimpse (here) 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.
Waltz in F major
The final waltz opus 34 (here) returns to ebullient tone of the first, yet in terms of length it is far shorter than its two companions. Indeed, it lacks a true “Trio” and contains only three distinctive themes, making it rather unsuitable for the dance floor. It is often referred to as the “Cat’s Waltz” in reference to the unsubstantiated claim that Chopin’s cat hopped up on his piano and traced out the opening notes of its theme.
Eight measures upon the dominant chord and a further eight more of an ascending chromatic figure serve as the piece’s introduction. The first theme of running eighth notes has a decided unmelodic character and comes across more as a perpetuum mobile. Its distinctive motif, thrice repeated, has a curious length of four beats, which then creates an interesting hemiola effect with the waltz’s triple meter. The second theme in B-flat major, on the other hand, is certainly more tuneful, though still remains more motivic than melodic. However, despite these two theme’s unique characters, it is the following third theme that becomes the waltz’s centerpiece. Each of its phrases is opened with a downward leap of a minor seventh, and followed by a lively passage of staccato quarter notes embellished with grace notes, all of which is then concluded with sprightly trills. On its second repetition the theme unexpectedly modulates into the key of D-flat major. A deft modulation returns the waltz to the tonic key and a reprise of the first theme. However, it is with fragments of the witty third theme with which Chopin chooses to close the waltz.
Waltz in A-flat major, op. 42
Considered to be Chopin’s finest waltz (here), the Waltz in A-flat major, op. 42 appeared in print in 1840, likely the same year it was composed. Like the earlier Grande Valse Brilliante and the opus 34 waltzes, it maintains the brilliance and noble mien of the dance itself, yet like all of Chopin’s creations in this genre, is not entirely suited for the dance hall.
A solitary trill, eight measures long, on the dominant serves as the introduction. The principal theme, a graceful tune that glides about the tonic key, is actually in duple meter (in this case, 6/8 meter) and is the reason for the piece’s occasional epithet of the “2/4 Waltz.” Underpinning the melody are consistent semitones and the usual triple-time accompaniment of the waltz. Following the principal theme’s restatement an octave higher, a brilliant melody of eighth-note runs is presented, and becomes a central figure of the piece by alternating with the remaining three melodies. The first melody to appear after the eighth-note runs is a brief eight-measure tune that only appears once in the entire piece. The next is somewhat riotous with a lively dotted rhythm, which later becomes an important feature towards the waltz’s conclusion. Finally, the last melody is a sostenuto theme that briefly touches upon C minor. The last measures of this melody develop into a quasi-fanfare which, via the glittering eighth-note runs, bring about the return of the opening theme.
As the waltz enters its coda, the dotted-eighth melody returns and twice precipitates a sudden key change, the first time into A major and the second into D. Each modulation, however, is deftly handled, and by means of a single chord Chopin is able to the reestablish A-flat as the tonic. Finally, the principal theme is hinted at during the final accelerando, which then drives the waltz to its vibrant conclusion.
3 Waltzes, op. 64
Composed during 1846-47, the 3 Waltzes, op. 64 were the last such works penned by Chopin before his death in 1849, and likewise the last to appear in print during his lifetime. Compared to his previous waltzes, those of opus 64 are more compact in form, yet possess a heightened clarity of expression. While none of Chopin’s waltzes were presumably composed for the dance floor, the idea of such use when applied to pieces of opus 64 is beyond consideration. Like the Allemandes, Gavottes, and Sarabandes of Bach’s keyboard suites, the waltz, for Chopin, had evolved into a musical form entirely separate from the dance itself—in essence, a stylized version of the dance.
Waltz in D-flat major, “The Minute Waltz”
The first waltz of opus 64 is the famous “Minute Waltz” (here), a name given because of its rather short length and quick tempo (Molto vivace), and for which it has suffered many artistic transgressions. Despite its nickname, the piece is never seriously performed within the timespan of sixty seconds. Chopin’s own title for the piece was “Valse du petit chien” (“The Little Dog Waltz”), since his source of inspiration was watching a dog chase its tail.
In a simple ternary design, the outer sections of the waltz grow out of the turn-like figure that winds about the dominant, unaccompanied, in the opening measures. With such a motif, one can easily imagine the humorous sight of a dog turning about in circles trying the catch its tail. Like the F major waltz that closed the opus 34 set, the motif’s length (in this case, four eighth notes) provides rhythmic interest within the prescribed triple time. Contrasting the fleeted runs of the first theme is the beautiful dolce con grazia melody of the central episode. Its subdued tone and indication to be played sostenuto grant the performer the only chance in the piece to impart his or her personality upon the piece with greater freedom of delivery. By means of a four-measure trill upon A-flat, the opening section of the waltz is reprised and concludes with a plunging, cadenza-like scalar passage to the tonic.
Waltz in C-sharp minor
Perhaps second only to the “Minute” Waltz as Chopin’s most memorable waltz is the Waltz in C-sharp minor (here). A melancholic piece full of profound grief, it betrays Chopin’s Polish origins by borrowing heavily from the rhythms of the mazurka in its principal theme. Marked Tempo giusto, it begins without introduction. The memorable first theme alternates poignant, semitone “sighs” with a two-measure rhythmic motif, after which the latter half of the theme becomes preoccupied with an eighth-note line that moves wearily atop the accompanying chords. The succeeding Più mosso, however, is the perfect contrast to the gloom of the opening theme. Passionate and rhythmic, its swirling motif comes off as a determined, yet futile, attempt to counter the earlier despair.
Occupying the central section of this waltz is a D-flat major Più lento that breathes the first sounds of consolation with its dolce melody. Unlike the other two themes of the waltz which were inevitably pulled downward, the D-flat major theme slowly ascends. Its first three phrases each beginning a tone higher, rising from the mediant to the dominant, until the third phrase leaps suddenly up to the tonic. The following slow descent then sounds like the offering of a gentle hand in support of a grieving heart. From thence, the previous two themes are reprised in reverse order. However, it is not the doleful C-sharp minor tune that closes the work, but a further statement of the impassioned Più mosso.
Waltz in A-flat major
Chopin’s final waltz (here) shuns both the frivolity and melancholy of its companions to close the set with a feeling of blithe amusement. It also only concerns itself with two distinct themes, and embodies a straightforward, simple ternary design. The outer sections present a carefree tune that habitually pauses on the third beat. Towards its conclusion, its simple amusement turns to excitement from which the Trio develops as a logical result. In the final measures of the opening section, a heroic motif consisting of the interval of a perfect fourth is heard, which then becomes a recurring impetus for the Trio’s bass theme. Against the theme, Chopin introduces a second idea in the soprano, and transforms the entire section into a quaint and charming dialogue. The reprise of the first waltz is altered from its first appearance, and rushes towards its conclusion in a vibrant coda.
2 Waltzes, op. 69
Waltz in A-flat major
The first waltz of opus 69 (here) is actually contemporaneous with the timespan of opus 34. Composed in 1835, it was parting gift to Marie Wodzinka when Chopin left Dresden to return to Paris. Chopin had fallen in love with Marie and even proposed to her. However, his being a poor musician, Marie’s parents outright rejected the possibility of a union between the two. Thus, the waltz is occasionally referred to by its nickname, “L’adieu.”
Like the latter two waltzes of opus 34, this A-flat major piece displays Chopin’s already notable progression away from the strict Viennese dance he had attempted to emulate and towards a stylized form more suitable to poetic expression. In this case, Chopin adopts a slower tempo, much as he did with the A minor waltz of that set. The principal theme, marked con espressione, is heavily tinted by the colors of the relative minor (occasionally leading some to consider the piece in F minor rather than A-flat major, yet certainly obscuring the dividing line between the two closely related tonalities), and its poignant sighs follow closely the plaintive stepwise motion of the chromatic bass. It becomes a sort of refrain throughout the piece, framing the statements of two subsidiary ideas, and giving the piece a rondo-like form.
The first episode ventures into the key of E-flat major. Marked con anima, its theme is somewhat more cheery, dancing about the dominant with playful turns and skipping arpeggio. Besides its livelier demeanor, it also borrows the characteristic accent of the third beat from the mazurka. The second episode, on the other hand, separated from the first by a brief restatement of the principal theme, is more reflective. Fully in the key of A-flat major and marked dolce, it seems to dwell on pleasant memories of the past. It is interrupted twice by an earnest, chordal passage that climbs chromatically through the A-flat major scale to close on a half cadence. Finally, without transition, the principal theme returns following the close of the second episode to conclude the waltz.
Waltz in B minor
The second waltz (here), on the other hand, was composed much earlier in 1829, predating even the Grande valse brillante, op. 18. Yet, despite its early date, it already shows Chopin giving more prominence to poetic expression than the strict style of the dance. Interestingly, the B minor waltz is one of the pieces Chopin wished to be destroyed after his death. However, as such things often go, the composer’s wishes were ignored and the piece was published in 1855.
Another slow waltz, marked Moderato, the B minor waltz is in a simple ternary design. The outer sections have two themes that alternate with each other—the first, a wistful melody in the tonic key, and the second, a con anima subject in D major. While the first theme is varied on its reappearance, the second remains unchanged. Contrasting the elegiac mood of the outer sections is a central episode in B major with a dolce melody that borrows elements of the first theme. On its second appearance, the tune is embellished with added thirds. Most notably, however, its second half, without warning slips back into the minor mode, and poignantly sets the stage for the return of the first theme.
3 Waltzes, op. 70
Waltz in G-flat major
Like the opening piece of op. 69, the Waltz in G-flat major (here), composed in 1833, is contemporaneous with the earlier op. 34 waltzes. Marked Molto vivace, it is a lively piece with energetic outer sections and a principal melody that primary is heard in the glistening upper register of the piano. The central episode, on the other hand, adopts a slower tempo (Meno mosso) and a cantabile melody with graceful dotted-eighth rhythms. A shortened reprise of the first theme then completes the waltz’s simple ternary design.
Waltz in F minor
The middle piece of opus 70 (here), the Waltz in F minor, is a fine example of the melancholic mood that tinges so many of Chopin’s works, and provides an effective contrast to the lively piece that proceeded it. Its date of composition in 1841 places it in close proximity to the earlier Waltz in A-flat major, op. 42. Two themes play out over its course. The first, in the tonic key, has a lightness that makes it more wistful than forlorn. Like those of some of Chopin’s other waltzes, it also has a tendency at times to accent the third beat of the measure. Ultimately, the first theme concludes in the relative major, in which key the second theme is heard. Overall of a more cheery disposition, it is nonetheless mindful of the principal theme’s melancholy when it briefly touches upon C minor before its repetition. Chopin repeats both themes, and thus allows the piece to conclude with the more optimistic second theme.
Waltz in D-flat major
Like the B minor waltz of opus 69, the final piece of opus 70 (here) dates from 1829, and thus predates all of the waltzes published during Chopin’s lifetime. Composed in a simple ternary design, its outer sections are marked by a graceful and charming Moderato melody, which is further embellished by the presence of delicate countermelody. The “trio” section within itself also embodies a ternary design with a livelier G-flat major tune framing a secondary idea that resembles the closing strain of the principal theme. A da capo repeat of the opening section—the only instance of such in Chopin’s waltzes, then closes the piece.
Waltz in E minor
The last of Chopin’s traditionally numbered waltz, the Waltz in E minor (here) is believed to be an early effort of Chopin in the genre, and was likely composed around 1830. Marked Vivace and following an introduction of swirling arpeggios, the principal theme is sprightly and airy, flittering about the upper register of the piano. It alternates twice with a chromatically descending passage that further lends it an impish demeanor. The central episode, at first, presents a warm, dolce E major tune. Though twice repeated, each of its further statements is preceded by a brusque, fortissimo passage in C-sharp minor which sharply contrasts with the melody’s inherent lyricism. The reprise of the opening section is greatly shortened from its original presentation. Only a single statement of the principal is given before Chopin diverts into a lively and puckish coda.