Chopin Waltzes

\ØALTZES

FoR

rItE

PIANo

PRACTICAL PERFORMING EDITION

EDITED

BY

\üøILLARD

A.

PALMER

FROM

THE ORIGINAL

SOURCES

ú

rù

tl

I

*r,

,'\,;

iv

,i

*

b-

*P

f

,Ë.=*

,'f¡

ê'-*è

+

:"

å;sç

tt

FREDERIC

CHOPIN

Waltzes (Complete)

Practical Performing Edition

Edited by

Willard

A.

Palmer

from

the

Original

Sources

About

This

Edition

Willard A. Palmer's Prøcti-ca.l Performing Editions arc sub je

ct to the

same

painstaking research as the

well-known

Masterwork

Editions. To

make fewer

page turns necessary, edito-rial suggestions for the per-formance of ornaments are,

for

the most part, present-ed

in

footnotes.

Parenthe-ses âre used

to identify

supplementary slurs, dynamic indications, etc. Fingering is editorial unless commentary in the footnotes stâtes otherwise. _,

It

is hoped that this series

will

fill

the need for accurate, dependable, clearly engraved and economical editions.

A wntercolot; cø. 1 I3 6, of Chopin fu Mariø Wod.zirískø (1819-1896)

The

Waltzes

During

Chopin's

lifetime

(1810-1849),

his

Wøltzes were among his most

popu-lar

compositions, and they

endure

in

the

concert

repertoire

to this

day, among the most frequently

performed works

in the

piano literature.

The

Wøltz¿s

were

com-posed over the period from 1827 (when Chopin was 17 years old)

to

1847 (two years

before his death). The present edition, meticulously edited

from the

autographs and

first

editions, contains

all

the

waltzes that are definitely known to be authentic. Only the first eight of the collection were published during Chopin's

lifetime.

These represent the best

of

the waltzes, since

it

was

Chopin's

habit to

carefully

prepare

the works

he intended for publication. The posthumous waltzes exist in a number of different forms, some "dashed

off'

carelessly as gifts

for

ladies

of

Chopin's acquaintance. For the present

edition,

we have chosen, where

they

exist, the versions

which

were

published

by

Chopin's

close

friend,

_Jules

Fontana, shortly after Chopin's death. These are the best

known versions of the posthumous

works.

Two additional

waltzes, both in E-flat major, have been added in this newly

revised Alfred edition.

Pedaling

Although

modern

pedal indications are used, they

are carefully taken from the

original

manuscripts and

fìrst editions,

in

which the

older

system (Sò.

x)

was

used.

Overlapping Pedal

may be used

at the

Per-former's discretion.

by C.P.E. Bach, Clementi and others, Chopin seems to have used the sign

^,r, most often to indicate the three-note tra.nsient

trill,

somenrnes referred to as

an inverted mordent (

_I¡a

or

_ff

).

For rhe prefixed. trill,Chopin uses the following indication: written:

or, with sufÊx:

The second note of the prefix is not to be repeated, since the trill proper begins on the upper note.

played:

usually began his

trills

on the upper

îote.

When the note immediately pre'ceding the

trilled

note is the same âs the upper note of the

trill

and legøto is indicated, the

trill

may

begin on the main principal note,

to

avoid a break

in

the

legato. This

is

in

accordance

with

the

rules

of Muzio

Clementi, whose methods Chopin used.

While the signs

ú

and

^,ry were considered to be slmonymous

When a short øppoggitturø ât the pitch of the main note is placed before the

trill,

the

trill

begins on the main note, on the beat. The starting note is not repeated'

The

Appoggiatura

ù fr

Appoggiaturøs, single and double, are generally played on the_beat. Exceptions are

anticipa-tônJóf

the following note, octave skips, and those written before bar lines.

Thematic Index

10.

Moderato z ù 69 No Page 6

r-4. _Vivace Page 66 16 Molto vivace Tempo giusto Op.70, No. I (Posthumous) Op. 70, No. 2 (Posthumous) Op. 34, No. 3 Op.64, No. I Op. 64, No. 2 32 Molto vivace Tempo giusto L7. (Posthumous) 96 Op.34, No. I Op.34, No.2 Op.70, No. 3 (Posthumous) (Posthumous) (Posthumous) P con espress,one (Posthumous)

Grande

_Valse

_Brillante

to

Mlle.

Laura

Horsfold

Op.

18

1.

Vivo

ø

,r

al -l ll

4 ã _al

t"-

_,+

E >z-

3Ê

I

tC

rr

I

++

l¿I

321321

_a lr

321!21

Ð

ll

B

leggíeramente

.a+

+t

îÊ

dt>

.--/ç

+=

\4.

_{+ +}

-^'

..1-9

nEl

ã

Z-<.

rt t' Eñ _{' r} I

@

plaved:

_ru

(Similarly in measure 126.)

ll

@

L LLI Jll

_:

tut

it t

tt

t*

"

fz ,t

UlG

I

È

I

++

+-+

13

EDr

Ieggieramente

-15

Vivace

Grande

Valse

Brillante

to

Mlle. J.

de

Thun-Hohenstein

Op.

34,

No.

1

2.

--'Tzl52

U

f

\

I

lr

iltè

Ê

Lr_l

t-tr--t- |

gva-

-'

t9

E

-

2t

@

₁

_!2

**

AJ t- J,'

Þl>t-t

IñE

ø

.

4r*

23

w-

(a

lempo)

!'

25

45

u

-+

dim

++

J

¿

í

J

1

pll

-L

4l

++

++

++

R. H.

F^--@

_rf\.

_.l-

--à

AJ

]JJ

.t**

_*.t

-

-lr

-r*

*,*

8vq---'l

Grande

Valse

Brillante

to

Madame

la

Baronne

C. d'Ivry

Op. 34,

No.

2

Lento

z 1

3.

o++

F

_I

_t'

_---1

_i-i

++

I

+t

++

@

ldr

2

Ë

2

I

3-õ ú.

ped. sintile qd lih.)

27

@

m.

distinction berween thc indications

lr

and tw m^y bc dcliberate. Although the rwo signs were used synonymously by C.P.E. Bach, Clementi and others, Chopin seems ro

lse,+t most

often to in-dicate a trønsient

trill

sometimes called "interted mordant,

"

played as a rh¡ee-note figure beginning on the principal nore (

29

4..

Grande

Valse

Brillante

to

Mlle.

Vivace

,

ue'

fã

e-

+'

+'

+

₊

J<>

e'

e

+. ++

+

₊

-.' -e

c'rcsc. _

_

_

+

e+ç

+

+' eÇ

C @ A.

d'Eichtal

Op.

34,

No.

3

@

The pedal indications

in

measures

l-9

are traditional. They are nor ro be found in the original

33

\t

343

^a/---\.

2

t

sz

I

t¡ t-'.

_nrz

n

t zttz

4

úr-

4r'**2o .,

I

424

@

fhy the

sbon øþþoggiøturøs very quickly, on tbe beøt, almost simultaneously with the following large note.

35

/w:

<-_-z)

(\-)

,

Ls

_-,,,

t3zÃ,24t,3:

,

a,,

a

t,1

Op.42

(vivace)

Ð.

IL

ffi

L-L.

I

LI

I

r'l

I

îr

r

a ped. simile

E

2

à I z lt

g

5t r 2

g z 1

₅ q I

b

Iqil-Irr

trrtrÍ

lqr

r

|

'[

[

@

@

The

trill

is traditionally _{pl.ayed beginning on the principal note. There are reasons to belicve that}

C,hopin may have playcd

it

beginning on the upper nore.

Eil

":*y'':

I

4l

@

_î

₄ (c)u 5 _tá

ü'l

++

t+

vr

;Jl

*

ct'esc'.__ _

-L++

r:r

+)

r[r *

@

Prayed:

#flJË

,

5.2

^

ar lfllrrl lr

-ta)

I'rlttt

_lflrîrl

rr

'-

lqllr"f

45

accelerando gva

- ----3' -

-

-- - - - --

-'1

Molto

vivace

Op.

64,

No. 1

tL

1.

^ I

4 (ped. simile)

É-- tc I

,^Tq,t4

_{^, 'l}

u

++

b5

tt

ftft

tfr

-47 1^

3 t+z

3 131

Zl

,ù

æ

¡l I

r

3

1r .2

@

This

trill

should begin on the aþþer note'

@

Play the short øppoggiøtarøs very quickly,

@

_r

_{lh¡ +'}

_{Î ¡ t-}

4

ü

,--**

+t

TF

++

+J}

+

*r*

+

t?

@

This

t¡ill

traditiondly begins on the principal note. There is evidence, however, that it may have

(r---r)

-

+

:L

¿

-=- -=L

x4

¿t

*t1

dñ

o

L:_:ï-¿¿ +.f

iet¡+

i¿.t'rV¿*

i-

1 '

z 'C

_:)

@B

9t

zv I

8;

e I

t7

Ê

J-^Ct

T

o

1

l--F-1---1---1-

--_FFF

)--

i-.1

-+-

.-?ti

r

r frsJe

rë

6V

@

"¿

7.

Valse

to

Madame

the

Baroness

Nathaniel de

Rothschild

Tempo giusto

4"

_2""6

,

ur,

_i

_)i-\t

_?;-:

_lr !1 11

U-u

Ir-

r

-

-

--ri

-++J

--

frr

|

++

Ll' I

| ++

_f-b

E

3 23 2 3

z

,

1 2 4

33

u u-- - t7 I t

f,P

I ¡+

'[¡ÊÊ

f

51

EÐ

Pi¡

mosso

( ped. simile) (pcd. sitnile)

ffi

_lt

t

3 t,

l¿12

t'o-r-,t- -^--r

--@

Pi¡

lento

'

1 -'4:

L23

E

53 (ped. simile) ç ped. simile)

^4

3 ¿ r¡1 .

gVA'

'

[I29]

Tempo

I

@

oD2 Jg

Í-rn

z t

LL.

.3-¡¡- 3-,

3L s

-l-Ì=

r-Lr I I J X-r-

₊

fiE

-55

lftIl

Più

mosso

( ped. simile)

r

a ¿ rtl

(ped. simile)

Valse

to

Mademoiselle

the

Countess

Catherine

Branicka

Op.64, No.

3

Moderato

u (ped. simile)

trn

₇₂

₃ aJ

f?

?+

I

t

+

57

6/z-^

_{I L2-}

1

(Ðt1.--r--J-J

aJ

w

l==J=

J

r

+4

r

sotto Doce

-t+

tï

/'ê

+

2l t3

@

ul

_r

_{¿ ttr}

J_ _=_ r

++1

/-=

62

@

@

The

trill

properly begins on the upper nore.

-

59

@ri

2

**

**

U

_-+J

'Jostcnulo r * *

t*

( ped. simile) Playcd:

3_1 4 Z

1

r_

z +?t zíL

_i

61

poco a poco øccelerando

al fine

2

Valse

Op.69,

No 1

(Posthumous)

9.

62

65

_t,

₃

_t¡

2,ñ-,t

64

rlt

a)

@/-++

I

**

,lL

, ¡r lempo

4^

-63 ('Pcd. simile)

@

,.,--<, 4_

/-:

4

3

Á i' Ê:rr1-\

B

,a +' tl+

ta)

-7

fi+:).

-b-l

I

FI

r

-b.J

Ê!,7

r:)

¡Jl

I

Ê'I

t

).1

7,4:

[2L

a

tempo

>^

,itE

_,ànriorro

3 3 ₃b 3

,ll¡\e/

I I e]¡

4--

I l-

::'/

I aL

t7=

r

r

@î,

I

₃ 3

3

,i

I

3

l-

L

,3

u

tt-poco->-

-- - -

a

>-

-

-

poco ta a)

tt

-l

,rur,.l-+e

+e

ll

E L L

B

_{- ! â^ ãr-itr}

s

? lnâ,

s

L'ãr

_{t"'t? ^}

p

\

7=

v-'/

I aL

_{\ l- \--l}

I

à-65 3

u\r

I aL

_\

I

\//

I

à¡

ë

\' j l

Valse

Op.

69,

No. 2 (Posthumous)

10.

(ped. simile)

Moderato

)=ru"

!¿

67 Con

anima

5

2lL!.

iurn

h,

k--ffi

5,,--+

ts

.)

_rf

*t

t*

++

'f

l4

tg

çped. simile)

ffi

tåür{h

1 2,

i

++

rt+

tt-

.++

Ê

Êt

2

o,z

4lt

69

( ped. simile)

t 4t

Ð 2

s-#

d

_tttttt

.ú

+

+

++

- I

8î

++

t!¡ -J

tt

eted,

sitrtile)

IIE

Ð I 4 2

IIETI

, b

.

4

1.

3

_{_}

t¡a+

¿--r

_L-\r

i:5

w

¡

--1p-I

t8

trlttt

tt tt

.-t.-+

+-

+--IJ

dittt.z

!.l.

I Í-ta)

!+*

+:ütnEr----+-'f

Ðt 3 1 ( ped, _{similc )}

ffi

₄

tz/4-)

_t5

ET-al

+rG

.rbb

++

*llÊ

_{-t_{¡J}

++

,**

7l

(ped.

sintite)

@

_{2 I}

<-1

4

_l2

lr

tt

-FE AJ

**

lr

A,¿+

++

-t

@

(ted.

simile)

64

5z-+r

4,9,

I

íì$m.ibJ

2

5z---*a

-+L

,ft

++

ril.

++

t¡È Ë

-*+

Valse

Molto vivace

_J.:r,

70

11.

( ped. _similc)

¡2

(Ð

_z--l.e

¡-\

/'3 +r.

,-'th 8Va

3,---\

,/

Jp.

rv,1\o.

_I

(rosthumous

3^

l-r?,

-'

brillante

r

s\l

I 3 SVCt 3 ð

41

(ped. simile)

E

.

gva I 'ì2

Sval

-

('

')

!g

4 I

Play the first of the rwo small notes on tlte beøt,

The

trill

begins on the uþper noîe.

Tlne slton øpþoggiøt*rø is played on tlte beøt, almost together with the following large note.

@

@

@

73

1s t

4â l

B

Meno

.o""o

J=ro

m

'B

+g

s-L

3

a

;íìb'H.;

?¿

_t2l 3

L9*x

çped. simile)

þ,

cantabile

r

75

(ped. simile)

gva

Valse

Tempo

giusto

)=tno

Op. 70,

No.2

(Posthumous)

4

12,

E

l:>

u

lr

l-t-t

3

i,s>

---1

t g J-4.

B

2,

I I

13

tu

,

{'1

\+T

ï_]_l

IJJ

5

'5

=

iÈ |

,3

, ,4

,

21

)

t2t

_I ttJ _. -l¡

'nI =-=:-

_l.L{

.J

I.t-t

T L-'-=--crcs('. I

,.

alJ

¡l- ¿

l¿.4

@

Play the

_first

of the three small notes on tlte beøt, togethe¡ with the lowest note of the arpeggiated

77

, , o

tl'

b I 1

\-.

++

ht+

¿,

_'.

>'\\-atm.

_{+ +}

L

'5+

.>

_qm

---j+

L L

,5Ð

I

Lt

@

Played:

rg

1

T

19

Valse

Op.

70,

No.

3

(Posthumous)

13.

@

The F's are not tied, as most editions show, here and in similar measules.

-g----":

81

i i i ',j

e43

i2

r 5

r¿(ot

_{n I}

ã 1

@6ã

O

Played:

4

2 5₃ 3

tl

-83

Valse

(Posthumous)

(Allegro)

82 4 t

e

å

2l

r21321

@

fne first edition (Breitkopf and Härtel) has the

following here and in measures

3940:

(a¡rurc

.pad)

'zl

Walzer

Tempo

di

valse

(Posthumous)

ffi1

rr5

¡6

^

a

_I

----l-,¡ll

+ +

rt

++

cresc.

tt

.++

@Played:

ffi

87

8Va

¡i

@

played:

_#

_(similarly

_in

_{rhe following measures.)}

-21321

(Fd.

simile¡

2

,t3

89

-@

t

l2

I

1q

21

tr!

----..J

8Va-'

fì

|

43

2

9t

Valse

(Posthumous)

ts

t

grøzioso

?¡

,,

¡tFìFt

I ¡ z

t tr"n -- -l

l-]-do I

ll

,.-:U

[Ig

s,:

-

_il---

--

- -'.'

gva-

-1J

EVa

-2

---93 gva -l-l

v

.

_ar

\_z

UI

\-r

a

-95

@

_8VA 'ì

Valse

(Posthumous)

@

_;-r\

_/-\

-- ? ta

---.)

tt

**

*t

+

_F a

@

Played:

99

Walzer

(posthumous) Ped. ad lib. Moderato

5F

zl¿

I

p

Ll-l_LlI

L4l

l2

11

**

(Trio)

I

4

-

_t

f

-rt

)+

ûb 3 I

llllF--ï-

_f

8---r

trttPr

4

dím. e rítard.

2*

I

+

h

19.

to

Emile

Gaillard

(Posthumous)

Sostenuto

M.M.

J

= 96 - 100

@

fn"

autograph of this selection is in the library of the Paris Conservatoire. It is signed, "F.F. Chopin, Paris, 20 July 1840."

It was discovered in

l94l

by Dr. Jacques Chailley, then secretary general of the Conservatoire, who brought it to the attention of

the First International Musicological Congress Devoted to the Works of Frédéric Chopin (Warsaw, 1960). The piece was found

in an album belonging to Emile Gaillard, a friend and pupil of Chopin. Because the composer gave no title to the selection,

Dr. Chailley suggested the title "Albumleaf." All pedaling is editorial except that in the final measure.

-103

1

43

,

Iù

.)

*

+

f

+

t

b++

i-î ', ? !

z

12l

6212

3l

r34

5-11. 4 I D.C. al Fine

CHOPIN

\ØAITZES

FOR

THE

PIANO

idil

Biret,

pianist

Track

.

1,. 2. J. 4. 5. 6. 7. 8. 9. 10. 1.1. 1.2. 13. 14. 15. 1.6. 1,7. 18. 19.

Title

Page

GrandeValse Brillante, Op.

18

""""'6

GrandeValse Brillante,

Op.34,No'

1

...""' """1'6

GrandeValse Brillante, Op. 34,No. 2 ...

""""

"'26

GrandeValse Brillante, Op' 34,No.

3'.--...."" "32

Valse,

Op.42

...""""""'36

Valse,

Op.64,No.

1'...

.-....""""'46

Valse,

Op.64,No.

2

"""

50

Valse,

Op.64,No.3

"""56

Valse, Op.69,

No.

1 (posth

)

.-..""""'62

Valse,

Op.69,No.2

(posth.)

.""""'66

Valse, Op.70,

No.

1 (posth.) ...'

-...."""""72

Valse, Op.70,

No.2

(posth.)

"""""76

Valse, Op. 70, No.

3

(posth.)

"""""

80

Valse(posth)

.-

.'.".."""""'83

-Walzer

_(posth.)...

_"""'

₈₆ Valse (posth

)

..."""""91

Valse(posth) .

'..-".."""""96

WaIzer

(posth.)...'..:'...

"""'99

Valse (posth

)

...-.""""102