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
 tt

FREDERIC CHOPIN
Waltzes (Complete)

Practical Performing Edition

Edited by Willard A. Palmer from the Original Sources

Willard A. Palmer's Prcti- During Chopin's lifetime

Performing Editions arc
About ca.l
sub je ct to the same
This Edition 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 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
and economical editions.
A wntercolot; c. 1 I3 6, of Chopin
fu Mari Wod.zirsk (1819-1896)
(1810-1849), his Wltzes
The Waltzes
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 Wltzs 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.

Although modern pedal

indications are used, they
Pedaling 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 Per-
former's discretion.
 The fll t and *
Ornamentation 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^,ry
were considered to be slmonymous
by C.P.E. Bach, Clementi and others, Chopin seems to have
used the sign most often to indicate the three-note tra.nsient trill, somenrnes referred to as
^,r,
an inverted mordent ( or ).
Ia ff
For rheprefixed. trill,Chopin 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'
wntten: played:

The Appoggiatura fr
Appoggiaturs, single and double, are generally played on the_beat. Exceptions are anticipa-
tnJf the following note, octave skips, and those written before bar lines.
 Thematic Index
69 No z
10. Moderato

Page Page

6 66

r-
Op.70, No. I

Molto vivace (Posthumous)

Op.34, No. I

16

Op.34, No.2 Op. 70, No. 2

(Posthumous)
Tempo giusto

Op.70, No. 3
(Posthumous)
4. Vivace Op. 34, No. 3

32

(Posthumous)

Op.64, No. I (Posthumous)

Molto vivace

Tempo giusto Op. 64, No. 2

L7.
(Posthumous)

96

(Posthumous)

P con espress,one
6

Grande Valse Brillante

to Mlle. Laura Horsfold

Vivo Op. 18

1.

,r al -l ll 4
al

t"-,+
E >z- 3 tC
rr
I

++
I

lI

321321 a

lr
 321!21

ll

B leggeramente

@ fn" uill begins on the upper note.

 @ L-+<
dt>
.--
/ \4. -^' .a+
+= + + ..1- +t
 9

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

 ffi
c)n onima

nEl Z-<.

rt t' E ' r I

@ plaved: ru
(Similarly in measure 126.)

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

y/,,
I2

@ L LLI Jll :
tut
it t tt
I

t* "fz UlG
,t I ++
+-+
 13

EDr Ieggieramente

r
t4

poco -
 15

accelerando
T6

Grande Valse Brillante

to Mlle. J. de Thun-Hohenstein
Op. 34, No. 1
Vivace
--'Tzl52

U lr
2. f \
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
-

@ 1 !2

AJ
t- J,'
l>t-t
**

IE
. 4r*
22
 23

w- (a lempo)

!'

8vq
24

\l t r z L
 25

45

u -+
J
J
1 pll
dim
++ ++ ++ ++ -L 4l

R. H. F^--
@ rf\. .l- --
AJ - -lr -
]JJ .t** *.t r* *,*

8vq-------'l
26

Grande Valse Brillante

lato Madame
d'Ivry Baronne C.
Op. 34, No. 2
Lento z
1

o++
FI _---------1
++ +t ++
3.
t' i-i 2
I 2
I @
ldr

. 3-

ped. sintile qd lih.)

@ The trill begins on the pincipl note,

 27

@ m. distinction berween thc indicationslr 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 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
,

ue' e- +' J<> e +. ++ -.'c'rcsc. -e e+ +' e

4.. f +' +
+ e' +
+ + __ _
+ C

@ The pedal indications in measures l-9 are traditional. They are nor ro be found in the original
sources, however.
 33

\t

343
^a/-----\.
34

t t-'.
nrz
2 t sz I n

t zttz 4 r- 4r'**2o ., I

424

@ fhy the sbon oggiturs very quickly, on tbe bet, almost simultaneously with the following large note.
@ The trillbegins on the uer 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
(vivace) Op.42

IL

ffi L-L. I LI I r'l I r r

a

ped. simile
E I z lt g 5t r g
2 2 z 1 5

b
q
Iqil-Irr trrtr lqr r | '[ [

@ The trill is traditionallypl.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
,r-
39
40

Eil
":*y'':

ped. ad lih.)
I
4l

@ 4 (c)u 5
t

'l

++ t+
vr ;Jl
*
ct'esc'.__ _ -
L++
r:r
+) r[r *

@ Prayed: #flJ
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. 1

tL 1. ^ I 4

(ped. simile)
-- tc I ,^Tq,t4 'l
^,
u
++
b5 tt ftft tfr
 47

1^ 3 t+z
-

3 131

Zl

l I

r 3 1r .2

@ This trill should begin on the aer note'

@ Play the short ppoggitars very quickly, o" the bet'
^nd
48

@ r lh +' t- 4

,--
+t ++ + +
** TF +J} *r*

t?

@ Thistill traditiondly begins on the principal note. There is evidence, however, that it may have
bcen played by Chopin beginning on the upper note .
 (r--------------r)

+- :L
x4
-=- -=L t *t1
d o

L:_:- +.f iet+ i.t'rV* i- 1 ' z 'C

9t
_:) @B

zv I 8;
e I t7

J- T
^Ct o
--_FFF l--F-1---1---1- 1

)-- i-.1 -+- .-?ti r r frsJe r @

6V

"
50

Valse
to Madame the Baroness Nathaniel de Rothschild
Tempo giusto 4"
2""6 ,

7.

E ur, i )i-\t ?;-: lr !1

11

U-u Ir- r - - ri -++J Ll'

frr
| | f-b
++
++
I

-- --

3 23 2 3 z

, 2 33
1 4

u u-- - t7 t
I
f,P '[
I +
f
51

E Pi mosso

( ped. simile)

(pcd. sitnile)

ffi 3 t,
lt 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
-l-=
-rn z t LL.
Jg

.3-- 3-, 3L s

r-Lr I I J

X-r-
+ fiE
-
55

lftIl Pi mosso

( ped. simile)

r a rtl

(ped. simile)

8Va
56

Valse
to Mademoiselle the Countess Catherine Branicka
Op.64, No. 3
Moderato
u

(ped. simile)

trn 72 3

aJ I

f? ?+ t +
 57

6/z-^ I L2- 1

(t1.--r--
l==J= J J-J
aJ

w r +4 r
58

sotto Doce

-t+
t
/' +

t3 2l
@
/-=
ul r ttr J_
++1_=_ r

62
@ The trill properly begins on the upper nore.
@ This appoggiatura may anticipate the beat.
- 59

@ri 2

U -+J'Jostcnulo
r * * t* ** **

( ped. simile)

Playcd:
60

r_ z +?t zL i

3_1 4 Z 1

(Pcd. sintilc)
 61

poco a poco ccelerando al fine

2

ru ? ?+
 I

62

Valse
Op.69, No 1 (Posthumous)

9.

64
65
t, 3 t 2,-,t rlt

a)
@/- I

++ **

,lL ,
r

lempo
4^

@ This appoggiatura may anticipate the beat.

-
63

('Pcd. simile)

@ ,.,--<, 4_ /-: 4
3 i' :rr1-\ B ,a +' tl+
ta)

fi+:).
-
7

FI r -b.J
I !,7
r:) Jl
I

'I t ).1
7,4:
[2L
-b-l

a tempo

>^ ,itE ,nriorro

 .4
Do

-tl

b
3 3 3 3

,ll\e/ I
4-- I l- ::'/ aL
t7=
I
e] I

r r

@, I 3 3 3 ,i I 3 l- L ,3

u tt-
poco->- -- - - a >- - - poco tt -l ,rur,.l- ll
ta a) +e +e

E L L B- ! ^ r-itr s ? ln, s

\ 7= v-'/ aL
\ \--l
L'r t"'t? ^
p
I
l-
-
I
 65

u\r
I
aL
_\ I \//

I

\' j l
 66

Valse
Moderato )=ru" Op. 69, No. 2 (Posthumous)

10.

(ped. simile)

(ped. simile)
 67

Conanima 5
2lL!.

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

.)
rf
+
ts *t t* ++'f
68

l4
ffi
tg
tr{h 1 2, i

++
rt+ .++
tt- t
ped. simile)

2 o,z

4lt
 69

( ped. simile)

t 4t 412
| . t
10

IIE 4

I
2

s-#
d tttttt I t!

. + + ++
-

8 ++ tt
-J

eted, sitrtile)

IIETI , . 4 1.
b

--r L-\r i:5 3 _ ta+

--1p-
I
trlttt tt
tt
.-t.-+ dittt.z
IJ I -

t8 !+* +- +-- !.l. ta)

+:tnEr----+-

w 3
1 'f
t

( ped, similc )

ffi 4
tz/4-) t5
ET-
al

+rG ++
.rbb *ll ++ ,**
-t_{J
 7l

(ped. sintite)

@ 2 I <-1 4 l2

lr lr
tt
AJ

** A,+ ++ -t -FE

(ted. simile)

@ 64
4,9,
I
5z-+r
$m.ibJ 2
5z---

+L ++
,ft
ril.
++
t -*+ *a

-
72

Valse
Molto vivace J.:r,
rv,1\o. I (rosthumous
Jp. 70
2
( z--l.e ,-'th
/'3 8Va -'
-\ +r. 3,---\ ,/ 3^ l-r?,

s\l 3
11. brillante r I

( ped. similc)
SVCt

41

(ped. simile)
. gva
E '2
I

Sval -
(' ')
4
!g I

@ Play the first of the rwo small notes on tlte bet,

@ The trill begins on the uper noe.

@ Tlne slton poggit*r is played on tlte bet, almost together with the following large note.
 73

4 l
1s t B

Meno .o""o J=ro

m
'B +g s-L 3
;b'H.; a
?
t2l 3
L9*x
, cantabile

ped. simile)

(ped. simile)
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 l:>

u
12,
l-t-tlr
3

E
I i,s> 13 t g J-4. B 2, I
---1

tu

, {'1 _]_l
\+T IJJ
5 '5 i | ,3 , ,4 ,

21 ) t2t I

ttJ
'nI. =-=:-
I.t-t
.J L-'-=--
crcs('.
l.L{
I

-l T
,.
alJ
l-
l.4

@ 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

b I 1

, \-. '. >'\\- .>

qm
++
ht+
atm.

'5+
+
L
+ ---j+
,5 L L
I Lt
@ Played:
78

rg 1

@ The trills begin on the aer note.

 19

(ped. similc)
,l ,
80

Valse
Op. 70, No. 3 (Posthumous)

13.

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

@ Played:
 81

i i i ',j e43
i2 r

r(ot nI

@6

O Played:
82

4
2 5
3 3

-t-l-
 83

-
Valse
(Posthumous)
(Allegro)

82 4 t e 2l

r21321

@ fne first edition (Breitkopf and Hrtel) has the

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

'zl

-w

t8
-
85
86

Walzer
Tempo di valse (Posthumous)

rr5
6 ^

a I ----l- rt tt
,ll + + ++ .++
cresc.

ffi1

@Played:
ffi
 87

8Va
i

@ played:
# (similarly in rhe following measures.)
88

21321

(Fd. simile

2 ,t3
I 213 2 1 2
-
89

@ 1q t 2
I 1

l2
tr! ----..J
90

8Va-'
f

26
t.
| 43 2
 9t

Valse
(Posthumous)

t
ts grzioso
? ,, tFFt I z t

l-]-
tr"n -- -l do
I ll ,.-
:U

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

-
92

gva- -
1J

EVa -
I r3
2
 ------------

93

gva -

l-l

v . ar
\_z
 8VA- -'
I 3 2 t 2)

(l
a
UI
l
\-r , ,)
 95

@8VA '

U t---l
96

Valse
(Posthumous)

t7.
98

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

.) tt

a
** *t +
F

@ Played:
 99
Walzer
(posthumous)
5F
zl
I
Moderato

L4l
p Ll-l_LlI l2 11
**

Ped. ad lib.

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

 dim. e rtrd.

(Trio) 4
I - t

f rt )+ 3
b I

-
 llllF--- f

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

trttPr 4
dm. e rtard.
2*
I

+
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

1 43 ,
I

.)

* +
f
+
t b++

i- ', ? ! z

12l 6212 3l

r34
5-

11.
4
I

D.C. al Fine
 CHOPIN
\AITZES FOR THE PIANO
idil Biret, pianist

Track Title Page

. 1,. GrandeValse Brillante, Op. 18 """"'6

2. GrandeValse Brillante, Op.34,No' 1 ...""' """1'6

J. GrandeValse Brillante, Op. 34,No. 2 ... """" "'26

4. GrandeValse Brillante, Op' 34,No. 3'.--...."" "32

5. Valse, Op.42 ...""""""'36

6. Valse, Op.64,No.1'....... .-....""""'46
7. Valse, Op.64,No. 2 """ 50

8. Valse, Op.64,No.3 """56

9. Valse, Op.69, No. 1 (posth ) .-..""""'62
10. Valse, Op.69,No.2 (posth.) .""""'66
1.1. Valse, Op.70, No. 1 (posth.) ...........' -...."""""72

1.2. Valse, Op.70, No.2 (posth.) """""76

13. Valse, Op. 70, No. 3 (posth.) """"" 80
14. Valse(posth) .- .'.".."""""'83
-Walzer
15. (posth.)...... """' 86
1.6. )
Valse (posth ........"""""91
1,7. Valse(posth) . '..-".."""""96
18. WaIzer (posth.).......'..:'........... """'99

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