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COMPLETE

\ØALTZES FoR rItE PIANo PRACTICAL PERFORMING EDITION EDITED BY \üøILLARD A. PALMER FROM THE ORIGINAL SOURCES

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å;sç AN ALFRED

MASTERNøORK

ED]TION

tt

FREDERIC CHOPIN

Waltzes (Complete)

Practical Performing Edition Edited by Willard A. Palmer from the Original Sources Willard A. Palmer's Prøcti-

About This Edition

ca.l

Performing Editions arc

sub je

ct to the

same painstaking research as the

The Waltzes

repertoire to this

Editions. To make fewer

day, among the most frequently

page turns necessary, edito-

and economical editions.

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

were among his most popu-

lar compositions, and they endure in the concert

well-known Masterwork

rial suggestions for the performance of ornaments are, for the most part, presented in footnotes. Parentheses 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

During Chopin's lifetime (1810-1849), his Wøltzes

performed works in the piano literature.

The Wøltz¿s were composed 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 Performer's discretion.

The

Ornamentation

füll t

and

*

According to the testimony of his own students, Chopin 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

were considered to be slmonymous ^,ry and others, Chopin seems to have Bach, Clementi C.P.E. by

most often to indicate the three-note tra.nsient used the sign ^,r, or an inverted mordent ( ).

I¡a

For rheprefixed. trill,Chopin

trill,

somenrnes referred to as

ff

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:

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' played:

wntten:

The Appoggiatura

ù fr

Appoggiaturøs, single and double, are generally played on the_beat. Exceptions are anticipatônJóf the following note, octave skips, and those written before bar lines.

Thematic Index 69 No z

10. Page

ù

Moderato

Page 66

6

r-

Op.70, No. Op.34, No.

Molto vivace

I

I

(Posthumous)

16

Op.34, No.2 Tempo giusto

Op. 70, No. 2 (Posthumous)

Op.70, No.

3

(Posthumous)

4.

Op. 34, No. 3

Vivace

32

(Posthumous)

Molto vivace

Tempo giusto

Op.64, No.

(Posthumous)

I

Op. 64, No. 2

L7. (Posthumous) 96

(Posthumous)

P

con espress,one

6

Grande Valse Brillante to

Mlle. Laura Horsfold

Op. 18

Vivo

1.

ø

al -l ll

,r

t"-,+ E

>z-

4

ã

I

3Ê

321321

al

tC rr

I

++

a

lr

l¿I

321!21

ll

B

leggíeramente

@ fn" uill

begins on the upper note.

Ð

L-+


.-/ç

+=

\4.

+ +

-^'

.a+

..1-

+t

îÊ

9

@

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

ffi c)n

nEl

onima

Z-- - - poco

a ta

B-

L'ãr

3

3

3

poco->- -- - -

E L L

3

tt

-l

! â^ ãr-itr

t"'t? ^

,rur,.l-

+e

a)

p

I

,i

s

\ 7= v-'/ I

l-

3

L

ll +e

? lnâ, aL

,3

\

s

\--l làI

65

3

u\r

aL I

_\

I \// à¡ I

ë

\' j l

66

Valse Op. 69, No. 2 (Posthumous)

Moderato )=ru"

10.

(ped. simile)

!¿

(ped. simile)

67

anima 2lL!.

Con

5

iurn h,

k--ffi

.)

+ ts

*t

rf

5,,--

t*

++'f

68

ffi

tg

l4

tåür{h ++ rt+ çped. simile)

2 o,z

4lt

.++ Ê tt-

1 2,

i

Êt

69

(

ped. simile)

|

t

¡.

4t

¡t

412

10

Ð

IIE

2

Ð

4

I

2

s-#

d

tttttt .ú + +

t!¡

I

-

++

tt -J

++

8î

eted, sitrtile)

IIETI

,

L-\r

¿--r

--1pI

t8

trlttt

tt tt

!+*

.-t.-+ +-

b

i:5

IJ

dittt.z

!.l.

+--

. 4 1. 3 _ t¡a+ ¡ I

Íta)

+:ütnEr----+-

w

3 1

'f Ðt

(

ffi

4

tz/4-)

ped, similc )

t5 ET-

al

+rG

++

.rbb

*llÊ

++

-t_{¡J

,**

7l

(ped.

@

u

l-t-tlr 3

E

i,s>

I

t

13 ---1

tu

, {'1

IJJ

\+T '5

=

21

'nI. =-=:-

l.L{ -l¡

@

.J

I.t-t

2, I

B

ï_]_l

5

ttJ

g J-4.

)

iÈ |

,3

, ,4

t2t

I L-'-=--

T

,

,. alJ

l¿.4

crcs('.

I

¡l- ¿

Play the first of the three small notes on tlte beøt, togethe¡ with the lowest note of the arpeggiated left hand cho¡d.

77

tl' , , o

I

b

\-.

¿,

++ ht+

@

Played:

'. atm.

+ L

'5+

>'\\- .> qm

+

---j+ ,5Ð L

L

I Lt

1

78

rg

T

@ The trills begin on the aþþer note.

1

19

,l

,

(ped. similc)

80

Valse Op. 70, No.

13.

@

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

@

Played:

3

(Posthumous)

81

i i i ',j

5

r¿(ot

1

@6ã

O

Played:

e43

i2

nI

ã

r

82

4 3

-t-l-

2

5 3

83

-

Valse (Posthumous)

(Allegro)

82

4 t

e

2l

å

r21321

(Breitkopf and Härtel) has the following here and in measures 3940:

@ fne first edition

The above text is according to Chopin's autograph manuscript.

(a¡rurc .pad)

'zl

-w

t8

85

86

Walzer Tempo

di

(Posthumous)

valse

¡6

rr5

a

I ,¡ll

----l+

ffi1

@Played:

ffi

+

rt

++

tt

.++

cresc.

^

87

8Va

¡i

@

played:

#

(similarly in rhe following measures.)

88

21321

(Fd.

2

,t3

simile¡

I

213

2 1

2

89

@

I

1q

t

2 1

tr! l2

----..J

90

8Va-'

fì

26 t.

|

43

2

9t

Valse (Posthumous)

t

ts

?¡

,,

l-]tr"n

-- -l

do I

ll ,.:U

[Ig s,: - il--- -- -'.'

¡tFìFt

grøzioso

I

¡ z

t

92

gva- -

1J

I

EVa -

r3

2

------------

93

gva -

l-l

v

. ar \_z

8VA-

I

3 2 t

-'

2)

(l

a

UI l

\-r

,

,)

95

@8VA

'ì

-

U

t---l

96

Valse (Posthumous)

t7.

98

@

;-r\

.)

/-\

?

ta

-------

tt

** a

@

--

Played:

*t

+ F

99

Walzer

(posthumous)

5F zl¿

Moderato

Ll-l_LlI

p

Ped. ad lib.

@m

slurs and most of the dynamic indications are editorial.

L4l l2

11 **

I

dim. e rítørd.

(Trio) I

4

-

rt

f -

t

)+ ûb

3 I

llllF--ï-

f

8---------------r

trttPr

4

I

dím. e rítard.

2*

+ h

t02

Valse@ to Emile Gaillard (Posthumous)

Sostenuto M.M.

J = 96 - 100

19.

@ 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.

@ ¡ff

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

103

1

,

43

Iù

.)

+ f

*

b++

+ t

i-î

12l

6212

', ? !

z

3l

r34 5-

11.

4

I

D.C. al Fine

CHOPIN

\ØAITZES FOR THE PIANO idil Biret, pianist Page

Track

Title

.

1,.

GrandeValse Brillante, Op.

2.

GrandeValse Brillante,

J.

GrandeValse Brillante, Op. 34,No. 2

4.

GrandeValse Brillante, Op' 34,No.

5.

Valse,

6.

Valse,

18

Op.34,No' 1 ...""' """1'6

Op.42

10.

1'....... Valse, Op.64,No. 2 Valse, Op.64,No.3 Valse, Op.69, No. 1 (posth ) Valse, Op.69,No.2 (posth.)

1.1.

Valse,

1.2.

Valse,

7. 8.

9.

Op.64,No.

""""'6 ...

"""" "'26

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

...""""""'36 .-....""""'46

"""

50

"""56 .-..""""'62

.""""'66

Op.70, No. 1 (posth.) ...........' -...."""""72

15.

(posth.) """""76 """"" 80 Valse, Op. 70, No. 3 (posth.) .'.".."""""'83 Valse(posth) .-Walzer (posth.)...... """' 86

1.6.

Valse (posth

13. 14.

Op.70, No.2

18.

........"""""91 ) '..-".."""""96 Valse(posth) . WaIzer (posth.).......'..:'........... """'99

19.

Valse (posth

1,7.

)

......-.""""102