Chopin Waltzes for the Piano

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 indicat[r]

\ØALTZES FoR rItE PIANo

PRACTICAL PERFORMING EDITION

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Waltzes (Complete)

Practical Performing Edition

Edited by Willard A Palmer from the Original Sources

About

This Edition

Willard A Palmer's ca.l Performing Editions arcsub je ct to the same

Prøcti-painstaking research as the

well-known MasterworkEditions To make fewer

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

edito-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

endure in the concert

repertoire to this day,among the most frequently

performed works in the

piano literature

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 thefirst 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 heintended for publication The posthumous waltzes exist in

a number of different forms, some "dashed off' carelessly asgifts for ladies of Chopin's acquaintance For the presentedition, we have chosen, where they exist, the versionswhich were published by Chopin's close friend, JulesFontana, 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 pedalindications are used, they

are carefully taken from the

original manuscripts and

fìrst editions, in which the

older system (Sò x) was

used Overlapping Pedalmay 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 uppernote

played:

immediately pre'ceding the trilled note is the same âs theupper 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 trillbegins 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

(Posthumous)

(Posthumous)

P con espress,one

(Posthumous)

Grande Valse Brillante

to Mlle Laura Horsfold

dt>

/ç

. += \4.+ + -^'

@ Play the sltort øþpoggiatarøs very quickly, on ,lte bear'

nEl ã Z-<.

rt t' Eñ ' r I

@ plaved: ru (Similarly in measure 126.)

@ tlay the sbort øppoggiøttrøs very quickly , on the ,be¿r, almost simultaneously with the following large note

y/,,

r

poco

accelerando

@ fn trills begin on the apper note.

E

^\

!'

8vq

\l t r z L

Grande Valse Brillante

Op 34, No 2Lento z

ped sintile qd lih.)

@ The trill begins on the pincipøl note,

@ 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 (

JED )

(ped ad lib.)

3l3l tl3

@ sostctruto

31

\t

343

^a/ -\.

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

@ The trill begins on the uþþer note.

/w:

<-_-z) (\-) , Ls -,,,

t3zÃ,24t,3:

, a,, a t,1

Each of the trills may begin on the upper note , which in both cases is

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.

The original sources show no pedal indications hàm here through measu¡e 40.

37

,r-39

Eil

":*y'':

ped ad lih.)

@ fhy the appoggi^tvns on tbe beøt.

ffifl _ \

accelerandogva - 3' - - - - - -'1

Molto vivace Op 64, No 1

@ This trill should begin on the aþþer note'

@ Play the short øppoggiøtarøs very quickly,

^nd o" the beøt'

@ r lh¡ +' Î ¡ t- 4

t?

@ This t¡ill traditiondly begins on the principal note There is evidence, however, that it may have

bcen played by Chopin beginning on the upper note .

i¿.t'rV¿*

i-

1 '

z 'C _:)

-+- -?ti

r

r frsJe rë

6V

@

"¿

The trill properly begins on the upper nore.

This appoggiatura may anticipate the beat.

3_1 4 Z 1

(Pcd sintilc)

poco a poco øccelerando al fine

2

Con anima 52lL!.

5,, + ts

( ped simile)

t 4t

| ¡ ¡t 412

Ð 2

Valse Molto vivace J.:r,

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

@

@

@

@ H.r theøþþoggiøtùramustanlicipøne thebeat,orbe includedinthearpeggiation

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

left hand cho¡d

L L

,5Ð I Lt

@ Played:

rg 1

T

@ The trills begin on the aþþer note

19

3

@ fne first edition (Breitkopf and Härtel) has the

following here and in measures 3940:

(a¡rurc

.pad)

'zl

-w

-85

(Fd simile¡

I 213 2 1 2

fì

26t.

,.-:U

UI \-r

a

-95

@8VA 'ì

(Posthumous)

t7.

h

to Emile Gaillard

(Posthumous)

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

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

@ ¡ff appoggiaturas in this selection should be played rapidly and on the beat.

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.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.) """' 86Valse (posth ) ."""""91

WaIzer (posth.) ' :' """'99

Valse (posth ) .-.""""102