Waltzes, Op. 70

Waltzes, Op.70 (Chopin, Frédéric)

Contents:

Waltz No.11 Gb Major Op.70 No. 1 (Fontana) Sheet Music by Frederic Chopin

G-minor - Mazurka no. F-major Mazurka no. G-major - Mazurka no. A-minor , Notre Temps Mazurka no. Arthur Loesser called it "a masterpiece in its way. A Bolero in C major, Op. Chopin turns this Spanish form into a rather Polish-sounding affair. The Tarantelle in A-flat, Op.

A-major Miscellaneous no. C-major, A-major Miscellaneous no. Ab-major Miscellaneous no. A-major - Miscellaneous no. F-minor, Ab-major Miscellaneous no. Db-major Miscellaneous no. F -major - Miscellaneous no. D-major Miscellaneous no. G-minor Miscellaneous no. C-minor Miscellaneous no. E-major Miscellaneous no. Gb-major Miscellaneous no. Contrabass part to a 3-part Canon: Bb-major Miscellaneous no. F-minor Miscellaneous no.

A-minor Miscellaneous no. G-major Miscellaneous no. Though Field was the inventor, it is still Chopin who took the name and the general concept of a dreamy melody over a broken chord accompaniment, relying on liberal use of the sustain pedal and the offset of a contrasting middle section before a reprise of the opening material and made it famous on the general scene. Lyrical, poetical and dreaming substance before virtuostic artistics and reality. Bb-minor Nocturne no. Eb-major Nocturne no. B-major Nocturne no. F-major - Nocturne no. F -major - Nocturne no.

G-minor - Nocturne no. C -minor Nocturne no. Db-major Nocturne no. Ab-major Nocturne no. G-major - Nocturne no. C-minor Nocturne no. F -major Nocturne no. F-minor - Nocturne no. Eb-major - Nocturne no. E-major Nocturne no. E-minor Nocturne no. Both of them, written before his To borrow a favourite phrase of Mozart's, they must seem to the listener "to flow like oil". These are the fundamental of piano concertos, virtuoso show-pieces of unprecedented pianistic resource, replete with exquisite shafts of melody and harmonic colouring and overflowing with emotional nuances from the subtle and poigant to the thrilling and fiery.

E-minor Piano Concerto no. Chopin got it from his father, the dance, in its modern manifestation, from its godmothers; three French princesses of the Chopin's first composition was a Polonaise, his last a Mazurka, closing the circle and few have achieved greater or more lasting popularity than the mature Polonaises as his op.

G-major, Eb-major Polonaise no. C -minor Polonaise no. Eb-minor Polonaise no. A-major Polonaise no. C-minor Polonaise no. F -minor Polonaise no. Ab-major Polonaise no. D-minor Polonaise no.

Waltz No.11 Gb Major Op.70 No. 1 (Fontana) Sheet Music by Frederic Chopin

Bb-major Polonaise no. F-minor Polonaise no. G-minor Polonaise no. G -minor Polonaise no. Bb-minor Polonaise no. Are they constructed to demonstrate a certain musical style, as with the Etudes focusing on a technical difficulty, or is the intention to use the preludes as a kind of a glossary of introductions to other works? Or maybe they should be performed in order, preceding only each other.

Chopin left this great mystery to be figured out by ourselves or is it really possible that there is no pattern but just a set of wonderful small pieces, representing a certain mood or style?

Chopin also wrote another longer Prelude and after his death, another two sketches were found published posthumously. C-major Prelude no. A-minor Prelude no. G-major Prelude no. E-minor Prelude no. D-major Prelude no. B-minor Prelude no. A-major Prelude no. F -minor Prelude no. E-major Prelude no. C -minor Prelude no. B-major Prelude no. G -minor Prelude no.

F -major Prelude no. Eb-minor Prelude no. Db-major Prelude no. Bb-minor Prelude no. Ab-major Prelude no. F-minor Prelude no. Eb-major Prelude no.

Sheet Music

C-minor Prelude no. Bb-major Prelude no. G-minor Prelude no. F-major Prelude no. D-minor Prelude no. The article is name "Chopin and the aesthetic of the sketch: A new prelude in Eb minor? The prelude was published in this article but as you also can understand from the Heading of the article, it very much discuss the treatment of an embryo of a discareded prelude which might have been sketched to replace the Eb-minor in op.

The complete score is published in the article together with a copy of the sketch. Still they mark a significant mile stone for the development to maturity and any serious pianist interested in Chopin should play at least the Rondo a la Mazur in op.

Chopin's Works - Complete List

Chopin's Rondos are not strict in the Rondo form but rather develops the themes over the piece and blurs the different sections rather than having distinct ends. This is very typical for Chopin where he does not resolve the tension but instead, turns away from it and leaves it unresolved but for the very end where all energy built up is reduced to neutral. C-minor Rondo no. F-major Rondo no. C-minor, Eb-minor Rondo no. Beethoven's Scherzos were conceived as parts of larger design, and they contain, on the whole, enough good-humoured energy to justify their label on etymologocal grounds Scherzo is the Italian word for joke.

Chopin's scherzos, on the other hand, are self-contained works, more notable for their altering intensity and lyricism than for any spirit of playfulness. B-minor Scherzo no. Bb-minor Scherzo no. C -minor Scherzo no. Three for piano solo and one for piano and cello. Chopin's sonatas, and especially his opus 35 has been the target of much abuse or which can be traced to Schumann's remark that Chopin had here yoked together four of his maddest children under the same roof.

C -minor Prelude no. Bb-major Polonaise no. Hedley has not published this work. Bb-major Miscellaneous no. Re-sampled to dpi, cleaned up, and deskewed. Beethoven's Scherzos were conceived as parts of larger design, and they contain, on the whole, enough good-humoured energy to justify their label on etymologocal grounds Scherzo is the Italian word for joke. F-major - Nocturne no.

The traditional Sonata form of A-B-A is in fact a very Germanish tradition and plays a relatively minor role in the development of music in France, Italy, Spain, Russia and much of the eatern Europe. C-minor Sonata no. Bb-minor , Sonata no. B-minor Sonata no. He wrote them whenever he came across a poem describing his own mood or feelings at any given moment.

Chopin composed all of his songs to poems by Polish writers and his contemporaries: Witwicki, Zaleski, Pol, Mickiewicz and Krasinski. He was able to meet almost all of them. The greatest number of songs ten were written to poems by an early-Romantic poet from Warsaw, Stefan Witwicki , from the collection Piosnki sielskie 'Idylls', Witwicki was a friend of the family. He had strong folkloric interests and backed Chopin's emphasis on the national. Chopin dedicated his Opus 41 Mazurkas to Witwicki. Also of the Warsaw period was the composer's close acquaintance with the soldier-poet Bohdan Zaleski , the author of three texts set to music by Chopin in the 'forties.

Zaleski's folklore stylisations were based on Ukrainian songs and dances. Wincenty Pol , another freedom fighter of the November Uprising, published a collection of highly popular poems of the revolt, Songs of Janusz According to Fontana, Chopin composed music to ten or even twelve of these on their publication. Only one has survived: Chopin composed two highly expressive love songs to poems by Adam Mickiewicz , Poland's leading Romantic.

One of these Precz z moich oczu , 'Out of my sight' might have been the first text put to music by the composer. Nathaniel de Rothschild par F. Oblong, 28 x 22 cm, 2 vols, 8, 59 pp. The manuscript has been meticulously notated, with a wealth of performance details, dynamic markings and expression marks. Oblong, 35 x 29 cm, 2 vols, , 76 pp.

Bound in blue linen with matching portfolio.

Oblong, 35 x 26 cm, 2 vols, 26, 58 pp. Full-color halftone of the autograph fair copies of six etudes from op. Dated by Jan Ekier c. Halftone of the autograph faircopy, with new authoritative edition. Oblong, 35 x Full-color halftone of the autograph fair copy Pierpont Morgan call number MA , basis of the French Schlesinger edition.

Surviving correspondence between the French and German publishers of the Etudes informs us of the meticulous care with which Chopin prepared his first set of publications following his arrival in Paris Kallberg. Oblong, 30 x 24 cm, 2 vols, 54, 47 pp.

Recordings

This set consists of 2 fair copies entirely in the hand of Chopin nos. Oblong, 30 x 24 cm, 2 vols, 4, 47 pp. The Etude in A Minor was published with the whole cycle in October , almost simultaneously by three publishers: The pages of the Etude show a significant number of minor corrections; these might indicate haste on the composer's part resulting in slips in the notation.

Before the final resolution to an A major chord in bar 65 a whole bar was deleted—could this indicate that Chopin meant to replace some notes before that chord? Oblong, 28 x 22 cm, 2 vols, 4, 49 pp.

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The MS has signs of burn damage on the upper corner which in no way affects the text except for the possibility of the loss of a tempo marking. Notable is the lack of dynamic, agogic, pedal and expression markings, and phrasing only appears at the beginning. It contains corrections and deletions which show the composer was still working out detail. Oblong, 27 x 21 cm, 2 vols, 20, 66 pp. Oblong, 35,5 x Full-color reproduction of the fair copy autograph.

The manuscript being published here comes from the early s and is an editorial autograph intended for the Paris publisher Maurice Schlesinger. Oblong, 31 x 24 cm, 12, 40 pp. Full-color halftone of the autograph fair copy completed in , the third of just four impromptus that Chopin wrote. The autograph contains engraver's marks in the form of digits, written either in ordinary lead pencil or in red pencil or crayon, indicating the division of the musical text in the edition into systems and pages. The present manuscript is the only extant autograph of the Impromptu in A flat major, op.

Oblong, 28 x 22 cm, 4, 47 pp. This publication reproduces the manuscript of the Impromptu in G-flat major op. The history of this autograph is convoluted; until , it was held by the Musikhistorisches Museum von Wilhelm Heyer in Cologne; its later owners are unknown. All we know is that as of , the manuscript already belonged to the Selden-Goth collection..

Oblong, 33 x 24 cm, 4, 41 pp. This impromptu offers us an initial idea of how Chopin understood the genre. Designed to a da capo form with coda, in stylistic terms it stands largely within the sphere of the brilliant style. Oblong, 32 x 25 cm, 2 vols, 2, 45 pp. Chopin composed the Lento in C-sharp minor in Another version of the Lento, an autograph manuscript with a dedication to his sister Ludwika, has disappeared and is known only from copies and facsimiles.

Warsaw, , Oblong, 21 x 16 cm, 2 vols: The only evidence we have of its date is a handwritten annotation that appears on the ms: The composition is written on a small sheet of paper which the composer probably folded into four and enclosed with a letter, sent to Wilhelm Kolberg. Oblong, 31 x 23 cm, 24, 66 pp. Full-color halftone of the autograph fair copy completed in the autumn of and published—like most of Chopin's compositions—simultaneously in three editions France, Dec.

The manuscript is a rather clean fair copy yet bearing traces of intensive work on the formulation of some details. Oblong, 30 x 23 cm, 2 vols, 18, 68 pp. Full-color halftone of the autograph fair copy with dedication: Oblong, 29 x 22 cm, 2 vols, 6, 47 pp. Full-color halftone of the autograph fair copy ? Consists of 3 mazurkas: G major, A-flat Major, and C-sharp Minor. Oblong, 28 x 22 cm, 2 vols, 5, c.

Full-color halftone of the autograph sketch. Oblong, 28 x 22 cm, 2 vols, 4, 47 pp. The manuscript of the Mazurkas op. Faksymile autografu ze zbiorow Muzeum Chopina—Towarzystwa im. Fryderyka Chopina w Warszawie. Oblong, 33 x 27 cm, 16, 2 pp. Facsimile of the autograph sketch, left in an unfinished state it was published for the first time in by Fontana. Oblong, 17 x 11 cm, 2 vols, 2, 47 pp.

The autograph bears the date , three years after Maria had died; it is believed that Chopin presented the work to her daughter, Celina Mickliewicz, who pasted it into the Album. Oblong, 30 x 23 cm, 2 vols, 8, 48 pp. It is the only known Chopin manuscript of this work. Halftone of the autograph fair copy, together with a new authoritative edition. Oblong, 29 x 22 cm, 2 vols, 4, 46 pp.

Full-color halftone of the autograph fair copy for the French publisher Brandus et Cie. The musical text is in an advanced stage, including numerous dynamic, pedalling, articulation and phrasing markings. Line-cut of the Paris, edition. Oblong, 31 x 24 cm, 2 vols, 12, 46 pp.