\ШALTZES FoR rItE PIANo

transcript

\ØALTZES FoR rItE PIANo

COMPLETE

PRACTICAL PERFORMING EDITIONEDITED BY \üøILLARD A. PALMER FROM THE ORIGINAL SOURCES

tlI *r,

,'\,;iv

,i *b- *P

,Ë.=*,'f¡ ê'-*è+ :"å;sç

AN ALFRED MASTERNøORK ED]TION

FREDERIC CHOPINWaltzes (Complete)

Practical Performing EditionEdited by Willard A. Palmer from the Original Sources

AboutThis Edition

Willard A. Palmer's Prøcti-ca.l Performing Editions arcsub je ct to the samepainstaking research as thewell-known MasterworkEditions. To make fewerpage 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, dynamicindications, etc. Fingering is editorial unless commentary inthe footnotes stâtes otherwise. , It is hoped that this series

will fill the need for accurate, dependable, clearly engravedand economical editions.

A wntercolot; cø. 1 I3 6, of Chopin

fu Mariø Wod.zirískø (1819-1896)

The WaltzesDuring Chopin's lifetime(1810-1849), his Wøltzeswere among his most popu-lar compositions, and theyendure in the concertrepertoire to this day,among the most frequentlyperformed works in thepiano literature.

The Wøltz¿s were com-posed over the period from

1827 (when Chopin was 17 years old) to 1847 (two yearsbefore his death). The present edition, meticulously editedfrom the autographs and first editions, contains all thewaltzes that are definitely known to be authentic. Only thefirst eight of the collection were published during Chopin'slifetime. These represent the best of the waltzes, since itwas Chopin's habit to carefully prepare the works heintended for publication. The posthumous waltzes exist ina number of different forms, some "dashed off' carelessly as

gifts 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 additionalwaltzes, both in E-flat major, have been added in this newlyrevised Alfred edition.

PedalingAlthough modern pedalindications are used, theyare carefully taken from theoriginal manuscripts andfìrst editions, in which theolder system (Sò. x) wasused. Overlapping Pedalmay be used at the Per-former's discretion.

Ornamentation

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:

The füll t and *According to the testimony of his own students, Chopinusually began his trills on the upper îote. When the noteimmediately pre'ceding the trilled note is the same âs theupper note of the trill and legøto is indicated, the trill maybegin on the main principal note, to avoid a break in thelegato. This is in accordance with the rules of MuzioClementi, 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 frAppoggiaturøs, single and double, are generally played on the_beat. Exceptions are anticipa-tônJóf the following note, octave skips, and those written before bar lines.

wntten: played:

Thematic Index

10. Moderato

4. Vivace

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

Molto vivace

Tempo giusto

L7.(Posthumous)

Op.34, No. I

Op.34, No.2

Op.70, No. 3(Posthumous)

(Posthumous)

P con espress,one

(Posthumous)

Grande Valse Brillanteto Mlle. Laura Horsfold

Op. 18

ø ,r al -l ll 4ã al

t"-,+E >z- 3Ê

++ l¿I

321321a

321!21 Ð

B leggíeramente

@ fn" uill begins on the upper note.

@ L-+<.a+

+t îÊdt>

.--/ç+=-^'\4.+ + ..1-

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

ffic)n onima

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.

@ L LLI Jll :tut it t ttt*

fz ,t" UlG IÈI

EDr Ieggieramente

poco -

accelerando

Vivace

Grande Valse Brillanteto Mlle. J. de Thun-Hohenstein

Op. 34, No. 1

--'Tzl52

lriltè Ê

@ Th. aþþoggiøtara, w¡itten before the ba¡Jine , must anticipatc the beat.

t-tr--

gva- -'

(poco rit.)

@ fn. trills begin on the apper note.

AJ t- J,'Þl>t-t

IñE ø. 4r*

w- (a lempo)

\l t r z L

u -+dim ++

J¿ í J1 pll-L 4l++ ++ ++

R. H. F^--

@ rf\. .l- --à

AJ ]JJ .t** *.t

- -lr -

r* *,*

8vq-------'l

Grande Valse Brillanteto Madame la Baronne C. d'Ivry

Op. 34, No. 2Lento z1

F _---------1I t' i-i

+t ++@ldr2 Ë 2 I

3-õú.

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 wereused 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 beginningon the principal nore ( JED ).

(ped. ad lib.)

3l3l tl3

@ sostctruto

Grande Valse Brillanteto Mlle.

Vivace,

ue' fã e-+'

+' J<>++

+. ++++

-.' -ec'rcsc. _ _ _+e+ç+

+' eÇC

A. d'Eichtal

Op. 34, No. 3

@ The pedal indications in measures l-9 are traditional. They are nor ro be found in the originalsources, however.

^a/-----\.

2 t sz It¡ t-'. nrz

t zttz 4 úr- 4r'**2o ., I

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

@ The trill begins on the uþþer note.

<-_-z) (\-)

, Ls -,,,

t3zÃ,24t,3:

, a,, a t,1

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

Op.42(vivace)

IL ffi L-L.I LI I r'l I îr ra

ped. simile

E2 Ã I z lt g 5t r 2 g z 1 5

bIqil-Irr trrtrÍ lqr r | '[ [

The trill is traditionally pl.ayed beginning on the principal note. There are reasons to belicve thatC,hopin may have playcd it beginning on the upper nore.The original sources show no pedal indications hàm here through measu¡e 40.

Eil ":*y'':

ped. ad lih.)

@ î 4 (c)u 5 tá

++ t+vr ;Jl

*ct'esc'.__ _ -

L++r:r+) r[r *

@ Prayed: #flJË

, 5.2^

ar lfllrrl lr

I'rlttt lflrîrl rr'-

lqllr"f

@ fhy the appoggi^tvns on tbe beøt.

ffifl--_ \

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

Valseto Madame the Countess Delphine Potocka

Molto vivace Op. 64, No. 1

tL 1. ^ I 4

(ped. simile)

É-- tc I ,^Tq,t4 ^, 'lu ++

b5 tt ftft tfr

1^ 3 t+z

,ù æ

r 3 1r .2

@ This trill should begin on the aþþer note'

@ Play the short øppoggiøtarøs very quickly, ^nd

o" the beøt'

@ r lh¡ +' Î ¡ t- 4

ü ,--

**+tTF +++J} + +

@ This t¡ill traditiondly begins on the principal note. There is evidence, however, that it may havebcen played by Chopin beginning on the upper note .

(r--------------r)

-+ :L¿ -=- -=Lx4 ¿t *t1

L:_:ï-¿¿ +.f iet¡+ i¿.t'rV¿* i- 1 ' z 'C _:) @B9t

zv I 8;e I t7

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

)-- i-.1 -+- .-?ti r r frsJe rë

Valseto Madame the Baroness Nathaniel de Rothschild

Tempo giusto 4"2""6 ,

ur, i )i-\t ?;-: !111

U-u Ir- r - -

ri -++J-- frr| ++

Ll'I| ++f-b

3 23 2 3 z

u u-- - t7 tI f,PI ¡+ '[¡ÊÊ

EÐ Pi¡ mosso

( ped. simile)

(pcd. sitnile)

ffilt t 3 t, l¿12

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

@ Pi¡ lento' 1 -'4:

Apoco riletwto

(ped. simile)

ç ped. simile)

^43 ¿ r¡1 .

gVA' '

[I29] Tempo I

@ oD2Jg Í-rn z t LL. .3-¡¡- 3-, 3L s -l-Ì=

r-Lr I I J

X-r-+ fiE

lftIl Più mosso

( ped. simile)

r a ¿ rtl

(ped. simile)

Valseto Mademoiselle the Countess Catherine Branicka

Op.64, No. 3Moderatou

(ped. simile)

trn 72 3

f? ?+I

6/z-^ I L2- 1

(Ðt1.--r-- J-JaJ w l==J= Jr +4 r

sotto Doce

-t+tï/'ê +

ul r ¿ ttr J_ _=_ r++1

The trill properly begins on the upper nore.

This appoggiatura may anticipate the beat.

** **U -+J'Jostcnulo

r * * t*

( ped. simile)

Playcd:

3_1 4 Z 1

r_ z +?t zíL i

(Pcd. sintilc)

poco a poco øccelerando al fine2

ru?ç ?+

ValseOp.69, No 1 (Posthumous)

65t, 3 t¡64

2,ñ-,t rlt

a) @/-++

,lL ,¡r

lempo4^

@ This appoggiatura may anticipate the beat.

('Pcd. simile)

@ ,.,--<, 4_ /-: 43 Á i' Ê:rr1-\ B ,a +' tl+

fi+:). -b-l

FI r -b.J

Ê!,7r:) ¡JlI

Ê'I t ).1 7,4:[2L

a tempo

>^ ,itE ,ànriorro

.4Doß

3 3b3 3

,ll¡\e/II

4-- I l- ::'/I

aL t7=

@î, I3 3 3 ,i I 3 l- L ,3

u tt-poco->- -- - - a >- - - poco

tt-l ,rur,.l-+e

E L L B - ! â^ ãr-itr s ? lnâ, s

L'ãr t"'t? ̂ p \ 7= v-'/

aL \ l- \--lIà-

aL _\ I \//Ià¡

ë \' j l

ValseOp. 69, No. 2 (Posthumous)

(ped. simile)

Moderato )=ru"

(ped. simile)

Con anima 52lL!.

iurn h, k--ffi 5,,--

.) rf*t t* 'f++

çped. simile)

ffi tåür{h 1 2, i

++rt+ .++tt- Ê Êt

( ped. simile)

t 4t| ¡. ¡t 412

s-#d tttttt

.ú + + ++ -

8î ++t!¡

-Jtteted, sitrtile)

IIE Ð

IIETI , b. 4 1.3 _ t¡a+¿--r L-\r i:5

¡--1p-

t8trlttt tttt

.-t.-++- +--

IJdittt.z

ta)!+*+:ütnEr----+-

'fÐt31

( ped, similc )

tz/4-) t5

+rG ++.rbb *llÊ -t_{¡J++ ,**

(ped. sintite)

@2 I <-1 4 l2

A,¿+ -t++

(ted. simile)

64 5z-+r4,9, I íì$m.ibJ 2 5z---

+L ++,ft

ril.++t¡È Ë -*+

ValseMolto vivace J.:r,

( ped. similc)

¡2(Ð z--l.e¡-\ ,-'th/'3 +r.

8Va3,---\ ,/

Jp. rv,1\o. I (rosthumous

3^ l-r?, -'

brillante rs\l

(ped. simile)

E . gvaI

Sval -(' ')

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.

1s t 4â l B

Meno .o""o J=ro

m'B +g s-L 3 a;íìb'H.; ?¿ 3t2l L9*x

çped. simile)

þ, cantabile

(ped. simile)

@ H.r. theøþþoggiøtùramustanlicipøne thebeat,orbe includedinthearpeggiation

(ped. simile)

Tempo giusto )=tno Op. 70, No.2 (Posthumous)4

ulrl-t-t

i,s>---1

t g J-4. B 2, II 13

, {'1 ï_]_l\+T IJJ5 '5

= iÈ | ,3 , ,4 ,

21 ) t2t I

'nI =-=:-l.L{.J I.t-t T

L-'-=--crcs('. I

,. ¡l- ¿alJl¿.4

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

, , o tl'

\-.++ht+

¿, '. >'\\-atm.+ +L

.>qm---j+L L,5Ð I Lt

@ Played:

@ The trills begin on the aþþer note.

,l , (ped. similc)

ValseOp. 70, No. 3 (Posthumous)

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

-g----":

@ Played:

i i i ',j e43i2 r

r¿(ot n I ã

O Played:

Valse(Posthumous)

(Allegro)

82 4 t e å 2l

r21321

@ fne first edition (Breitkopf and Härtel) has the

following here and in measures 3940:The above text is according to Chopin's autograph manuscript.

(a¡rurc .pad)

Walzer

Tempo di valse (Posthumous)

rr5¡6 ^

a I ----l-

,¡ll + +rt++

ttcresc..++

@Played: ffi

@ played: # (similarly in rhe following measures.)

(Fd. simile¡

2 ,t3I 213 2 1 2

I 1q 21

tr! ----..J

8Va-'fì

| 43 226t.

Valse(Posthumous)

grøzioso?¡ ,, ¡tFìFt I ¡ z t

tr"n -- -l

l-]-do

I ll ,.-

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

gva- -

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

v . ar \_z

8VA- - '

I 3 2 t 2)

UI \-ra(l l , ,)

@8VA 'ì

U t---l

Valse(Posthumous)

@ ;-r\ /-\ -- ? ta -------

** *t +Fa

@ Played:

Walzer

(posthumous)

Ped. ad lib.

Moderato5Fzl¿

p Ll-l_LlI L4ll2 11**

@m slurs and most of the dynamic indications are editorial.

dim. e rítørd.

(Trio)I

rt)+ûb

llllF--ï- f

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

trttPr 4dím. e rítard.

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

1 43 ,Iù

+t b++

i-î ', ? ! z

12l 6212 3l

D.C. al Fine

CHOPIN\ØAITZES FOR THE PIANO

idil Biret, pianist

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

\ШALTZES FoR rItE PIANo

Documents