These waltzes were the last to be given an opus number after Chopin’s death in 1849 - and all three are little gems. The first waltz, thought to date from 1833 and originally in G flat major, is, arguably, more awkward for an orchestra than a pianist, so this orchestration, like Glazunov’s version in the ballet Les Sylphides, is in the easier key of G major. The opening section is delightfully frivolous, full of fun and charm, dancing along at quite a pace, whereas the middle section is slower and more intimate. Its descending dotted rhythmic figurations in thirds would surely not be out of place in some film of a romantic waltz in a magical outside venue, on a warm summer evening! A shortened version of the opening idea brings the waltz to a rapid conclusion - it certainly cannot be accused of outstaying its welcome.
The second piece, dating from June 1841, is more melancholic in nature and has an opening and closing idea starting in F minor, but working its way to the relative major of A flat, where the music becomes warmer and, at times, somewhat more flamboyant.
The third waltz, in D flat major, is more genial in nature and was written in October 1829. The interplay between the opening theme and its countermelody, both simultaneously played in the right hand are an unusual feature and seemingly a nod to the baroque era, updated to the romantic period. Complementing and contrasting with this, is a section of gently oscillating patterns of quavers. The two ideas are recapitulated at the end. Between them is the middle section, itself ternary in structure. The perfection and maturity of this would seem to defy the nineteen-year-old’s youthfulness. Peter Lawson
- ISMN: 9790222331990 (M222331990)
