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COMPLETE

\ALTZES FoR rItE PIANo


PRACTICAL PERFORMING EDITION
EDITED BY \ILLARD A. PALMER FROM THE ORIGINAL SOURCES

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AN ALFRED

MASTERNORK

ED]TION

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FREDERIC CHOPIN

Waltzes (Complete)

Practical Performing Edition


Edited by Willard A. Palmer from the Original Sources
Willard A. Palmer's Prcti-

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; c. 1 I3 6, of Chopin
fu Mari Wod.zirsk (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 re used to identify supplementary slurs, dynamic
indications, etc. Fingering is editorial unless commentary in
the footnotes sttes otherwise. , It is hoped that this series
will fill the need for accurate, dependable, clearly engraved

During Chopin's lifetime


(1810-1849), his Wltzes

performed works in the


piano literature.

The Wltzs 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
frst editions, in which the
older system (S. x) was
used. Overlapping Pedal
may be used at the Performer's discretion.

The

Ornamentation

fll t

and

According to the testimony of his own students, Chopin


usually began his trills on the upper ote. When the note
immediately pre'ceding the trilled note is the same s the
upper note of the trill and legto 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 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 (
).

Ia

For rheprefixed. trill,Chopin

trill,

somenrnes referred to as

ff

uses the

following indication:

written:
or, with sufx:

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

When a short ppoggittur t 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

fr

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

Thematic Index
69 No z

10.
Page

Moderato

Page
66

r-

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

Molto vivace

(Posthumous)

16

Op.34, No.2
Tempo giusto

Op. 70, No. 2


(Posthumous)

Op.70, No.

(Posthumous)

4.

Op. 34, No. 3

Vivace

32

(Posthumous)

Molto vivace

Tempo giusto

Op.64, No.

(Posthumous)

Op. 64, No. 2

L7.
(Posthumous)
96

(Posthumous)

con espress,one

Grande Valse Brillante


to

Mlle. Laura Horsfold

Op. 18

Vivo

1.

al -l ll

,r

t"-,+
E

>z-

321321

al

tC
rr

++

lr

lI

321!21

ll

leggeramente

@ fn" uill

begins on the upper note.

L-+<

@
dt>

.-/

+=

\4.

+ +

-^'

.a+

..1-

+t

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

ffi
c)n

nEl

onima

Z-<.

rt t'

@ plaved:

@ tlay

ru

' r

(Similarly in measure 126.)

the sbort ppoggittrs very quickly , on the ,ber, almost simultaneously with the following large note.

ll

y/,,

I2

@
tut

it t

tt
t*

,t
"fz UlG

LLI Jll

:
I

++
+-+

13

EDr

Ieggieramente

t4

poco -

15

accelerando

T6

Grande Valse Brillante


to Mlle. J. de Thun-Hohenstein

Op. 34, No.

Vivace
--'Tzl52
U

2.

lr

\
I

ilt

@ Th. aoggitara, witten before the baJine , must anticipatc the beat.

Lr_l

t-tr--

t-

gva-

(poco rit.)

-'

t8

@ fn. trills begin on the apper note.

t9

E
^\

20

2t

@
t-

AJ

IE
.

!2

4r*

J,'

l>t-t

**

22

23

w-

(a

lempo)

!'

8vq

24

\l

t r z

25

45

dim

++

-+

++

++

pll

1
++

-L

R.

AJ

.l-

rf\.

]JJ

.t**

*.t

8vq-------'l

H. F^--

--
-lr

r*

*,*

4l

26

Grande Valse Brillante


la
d'Ivry
to Madame

Lento

Baronne C.

Op. 34, No. 2


z
1

o++
3.

FI _---------1
t'
i-i

++

+t

++
@

ldr

ped. sintile qd lih.)

The

trill

begins on the

pincipl

note,

3-

27

@ m.

lr

distinction berween thc indications


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 indicate a trnsient trill sometimes called "interted mordant, " played as a rhee-note figure beginning
on the principal nore

JED ).

28

(ped. ad lib.)

29

3l3l

tl3

30

sostctruto

31

32

Grande Valse Brillante


to
Mlle. A. d'Eichtal

Op. 34, No. 3

Vivace

4..

ue'

e-

+'

+'
+
+

J<> e

e'

+. ++ -.'c'rcsc. -e
e+
__
+
+

The pedal indications


sources, however.

in

measures

l-9

are

traditional. They are nor ro be found in the original

+' e
C

33

\t

343

^a/-----\.

34

t t-'.
2 t sz

t zttz

r-

4r'**2o

nrz

.,

424

@ fhy
@

The

the sbon oggiturs very quickly, on tbe bet, almost simultaneously


begins on the uer note.

trill

with the following large note.

35

/w:

<-_-z)

(\-)

, Ls -,,,

t3z,24t,3:

a,, a t,1

Each of the trills may begin on the upper note , which

in both

cases is

Valse
Op.42

(vivace)

ffi

IL

L-L.

I LI I r'l I r r

ped. simile

q
I

@ The trill is traditionally


@

lt

Iqil-Irr

5t r

trrtr

z 1

lqr

r | '[ [

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 hm here through measue 40.

37

38

,r39

40

Eil
":*y'':

ped. ad lih.)

I
4l

'l

++

@ Prayed:

(c)u

t+

#flJ

vr

;Jl
ct'esc'.__ _ -

L++

r:r
+)

r[r *

42

5.2

ar lfllrrl lr
ta)

I'rlttt

lflrrl
rr
'-

lqllr"f

@ fhy the appoggi^tvns

on tbe bet.

44

ffifl--_

45

gva - ----3' - - -- - - - -- -'1

accelerando

Valse

to Madame the Countess Delphine

Potocka

Molto vivace

Op. 64, No.

tL

1.

^ I

(ped. simile)

-- tc I
u

++
b5

,^Tq,t4

^,

'l

tt

ftft

tfr

47

1^

t+z

131

Zl

@
@

This

trill should begin on the aer note'

Play the short ppoggitars very quickly,

^nd

o" the bet'

3 1r .2

48

lh +'

t-

,--

**

+t
TF

++

+J}

+ +
*r*

t?

till traditiondly begins on the principal note. There is evidence, however, that
bcen played by Chopin beginning on the upper note .

This

it

may have

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

+-

x4

:L

-=-

e I

i.t'rV*

L:_:- +.f iet+


9t

zv I

8;

*t1

-=L

1 ' z 'C

i-

)-- i-.1

-+-

.-?ti

@B

t7

J--_FFF

_:)

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

^Ct
1

r frsJe

6V

"

50

Valse

to Madame the Baroness Nathaniel de Rothschild


4"
2""6

Tempo giusto

7.

ur,

U-u

)i-\t

Ir-

--

ri

?;-:

lr

-++J
--

frr
|

Ll'

u-I

t7

f,P

I +

| f-b
++

++
3 23

11

!1

2 3

33

'[

f
51

Pi

mosso

ped. simile)

(pcd. sitnile)

ffi

lt

3 t,

l12

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

--

52

@ Pi1 lento
'

-'4:

L23

Apoco

riletwto

53

(ped. simile)

ped. simile)

3 r1^4 .

gVA'

'

54

[I29] Tempo I

oD2

Jg

-rn

z t LL.

.3-- 3-,

3L

r-Lr

X-r-

fiE

-l-=
I

55

lftIl

Pi

mosso

ped. simile)

a rtl

(ped. simile)

8Va

56

Valse

to Mademoiselle the Countess Catherine Branicka


Op.64, No. 3

Moderato
u

(ped. simile)

trn

72

aJ

f?

?+

57

6/z-^

(t1.--r-aJ

+4

I L2-

l==J= J
r

J-J

58

sotto

Doce

-t+
t

/'

+
2l

t3

/-=

ul

ttr

r
62

@
@

The

trill properly

begins on the upper nore.

This appoggiatura may anticipate the beat.

J_

++1_=_

59

@ri
U

-+J'Jostcnulo
r

**

t*
(

Playcd:

ped. simile)

**

60

r_

z +?t

zL

3_1 4 Z

(Pcd. sintilc)

61

poco a poco ccelerando


2

ru

?+

al fine

I
62

Valse
Op.69, No 1 (Posthumous)

9.

65
t,

64
2,-,t

@/-

a)

++

rlt

**
,lL

r
,

lempo

4^

This appoggiatura may anticipate the beat.

63

('Pcd. simile)

,.,--<,

i' :rr1-\

ta)

fi+:).

FI r -b.J

-b-l

>^

4_

tempo

,itE ,nriorro

!,7

/-:

,a +' tl+

r:) Jl

'I t ).1

7,4:
[2L

.4

Do

-tl

b
3

,ll\e/

I l- ::'/

4-I
I

e]

t7=

aL

@,
u

tt-

>- - - poco

a
ta

B-

L'r

poco->- -- - -

E L L

tt

-l

! ^ r-itr

t"'t? ^

,rur,.l-

+e

a)

,i

\ 7= v-'/
I

l-

ll
+e

? ln,
aL

,3

\--l
lI

65

u\r

aL
I

_\

I \//

\' j l

66

Valse
Op. 69, No. 2 (Posthumous)

Moderato )=ru"

10.

(ped. simile)

(ped. simile)

67

anima
2lL!.

Con

iurn h,

k--ffi

.)

+
ts

*t

rf

5,,--

t*

++'f

68

ffi

tg

l4

tr{h
++
rt+
ped. simile)

2 o,z

4lt

.++
tt-

1 2,

69

ped. simile)

4t

412

10

IIE

s-#

tttttt
.
+ +

t!

++

tt
-J

++

eted, sitrtile)

IIETI

L-\r

--r

--1pI

t8

trlttt

tt
tt

!+*

.-t.-+
+-

i:5

IJ

dittt.z

!.l.

+--

. 4
1.
3 _ ta+

ta)

+:tnEr----+-

3
1

'f
t

ffi

tz/4-)

ped, similc )

t5
ET-

al

+rG

++

.rbb

*ll

++

-t_{J

,**

7l

(ped.

<-1

sintite)

l2

lr

lr

AJ

A,+

**

tt

++
-t

-FE

(ted.

@
4,9,

64

$m.ibJ

5z-+r

+L

simile)

++
,ft

ril.

++
t

-*+

5z---

*a

72

Valse
Molto vivace J.:r,
2

Jp. 70
rv,1\o. I (rosthumous

z--l.e
-\

11.

brillante

,-'th
/'3
+r.

8Va

3,---\

3^

,/

s\l

l-r?,

ped. similc)

SVCt
3

41

(ped. simile)

gva

'2

Sval

('

!g

of the rwo small notes on tlte

Play the first

The

Tlne slton poggit*r is played on

trill

')

bet,

begins on the uper noe.

tlte bet, almost together with the following large note.

-'

73

1s t

.o""o J=ro
'B +g
s-L 3

Meno

;b'H.;
,

?
t2l

L9*x

cantabile

ped. simile)

(ped. simile)

4 l

74

@ H.r. theoggitramustanlicipne

thebeat,orbe includedinthearpeggiation

r
75

(ped. simile)

gva -

(ped. simile)

76

Valse
Op. 70, No.2 (Posthumous)

Tempo giusto )=tno


4

12,

l:>

l-t-tlr
3

i,s>

13
---1

tu

, {'1

IJJ

\+T
'5

21

'nI. =-=:-

l.L{
-l

.J

I.t-t

2, I

_]_l

ttJ

g J-4.

i |

,3

, ,4

t2t

I
L-'-=--

,.
alJ

l.4

crcs('.

l-

Play the first of the three small notes on tlte bet, togethe with the lowest note of the arpeggiated
left hand chod.

77

tl'
, , o

\-.

++
ht+

Played:

'.
atm.

+
L

'5+

>'\\- .>
qm

---j+
,5
L

I Lt

78

rg

@ The trills begin on the aer note.

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:

(Posthumous)

81

i i i ',j

r(ot

@6

Played:

e43

i2

nI

82

4
3

-t-l-

5
3

83

Valse
(Posthumous)

(Allegro)

82

4 t

2l

r21321

(Breitkopf and Hrtel) has the


following here and in measures 3940:

@ fne first edition

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

(arurc .pad)

'zl

-w

t8

85

86

Walzer
Tempo

di

(Posthumous)

valse

rr5

I
,ll

----l+

ffi1

@Played:

ffi

rt

++

tt

.++

cresc.

87

8Va

played:

(similarly in rhe following measures.)

88

21321

(Fd.

,t3

simile

213

2 1

89

1q

2
1

tr!
l2

----..J

90

8Va-'

26
t.

43

9t

Valse
(Posthumous)

ts

,,

l-]tr"n

-- -l

do
I

ll ,.:U

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

tFFt

grzioso

92

gva- -

1J

EVa -

r3

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

93

gva -

l-l

. ar
\_z

8VA-

3 2 t

-'

2)

(l

UI
l

\-r

,)

95

@8VA

'

t---l

96

Valse
(Posthumous)

t7.

98

;-r\

.)

/-\

ta

-------

tt

**
a

--

Played:

*t

+
F

99

Walzer

(posthumous)

5F
zl

Moderato

Ll-l_LlI

Ped. ad lib.

@m

slurs and most of the dynamic indications are editorial.

L4l
l2

11
**

dim. e rtrd.

(Trio)
I

rt

f
-

)+
b

3
I

llllF---

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

trttPr

dm. e rtard.

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 Frdric 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

43

.)

+
f

b++

+
t

i-

12l

6212

', ? !

3l

r34
5-

11.

D.C. al Fine

CHOPIN

\AITZES 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