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,” 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. Joseph DuBose
Classical Music | Piano Music
Frédéric Chopin
Waltz op. 64, no. 1 Play
Recorded on 12/31/1969, uploaded on 05/24/2015
Musician's or Publisher's Notes
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,” 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. Joseph DuBose
Recorded in 1968
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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