ponick K Chor: | Wor RKS. with explanatory remarks and fingerings by DE THEODORE KULLAK Author's Edition in English by ALBERT R. PARSONS. ~ Volume VI. WALTZES — for the pianoforte. Pree Pras Gr.Valee Brillante E MMat major Op 18 ' Waltz 4 fat major Op G4 \°3 : Valae Brillante 4 Matmiyor . 34N?1 . A fatingor 69-1 Aminoy 2, B minor ot Fimajor. 34. 7 + Pater 70 A flat major. 42 7 7 D flat major . 6+ {., D ftatmajor 703 € sharpininor, 64. 2 : E-aninor Oppostimons NEW-YORK, wien G. SCHIRMER © Mastinger 4 Tobias {Copyright Sever 1840te Waltzes povisnea by Chopin himseit divide into two groups. Those which belong to tho first groap are dedicated solely to the service of Torpsichore. Thoy could rival the strains of a Straass and Lanner at any ball, althoogh the genial composer always felt procisely this spocics of the stunce to bo somewhat foreign to his nature. Ax he himself writes in a letter to his parents of July tit; “T have aoquired nothing of that which ix specifically Viennese by nature, und accordingly 1 am ill unable to play waltzes", (See Karasowsky, Fred. Chopin, Vol. I pp. 287). Tn the dances of the second seroap, the form supplies only the frame for a lyric opisode. The portraiture of moods steps into 1 foreground. While, in tho waltzes first namod. tho rhythms appoar in thoir full purits, in those of tho class last named, the rhythms at times approach the mazorka, or the character of the movemcn! ‘occasionally oversteps tho bounds of tho German tempo, The intermixtore of tho elements of svhjective feeling, and the pocsliar aroma of & foreign land, impart precisely to this latter genre a highly original charm and raise it; to a plane of oquality with the Mazurkas and Polonaises, despite tho prevalent costom of naming these first among Chopin dance music as the artistic apotheosis of Polish nationality. Tho posthamous Waltzes of Chopin waver between those two chief groups. Though not devoid of ‘grenble quality, their postic contents possess bat litle worth. Especially obvious, however, is their some. What sketchy character, which giver Inter editors © certain right to make various changes that con- sidurations of tasto render dasirable. ‘Tho conjectures of Klindworth merit special recognition here. ‘As rogards other variants, I woold refer to the wxcellent critical work of Ernst Radorff (Report ‘on revision, Volome IX of Chopin works, Leipsic, Breitkopf and Hartel) The pedal and metronome signs of thix edition aro revised in necordance with my judgment. Farther additions by myself are sofficiently indicated by means of smaller print, Concerning the method of study I would further remark, that ladies, particularly, aro apt to treat the waltz bases in far too trifling a manner. The almost stereotyped figure of the bastor consists of the fondamental tone upon the first quarter and two chords, mostly belonging to the same harmony upon the last two quarters. Their execation suffers just ax frequently from a hasty or blurred deli- very of the chords, ac from an invafficient accentostion of the fandamental tones. Moreover, let no onc neglect to learn to understand the serive of fundamental tones as an independent voice, whose a ‘cents are to be carefully graded according to the lawx of harmonic phrating. Tho introdaction of erceptible pause before taking & fondamental tone will estontially facilitate correct exocation in 1¢ the basses are formed moro by preseare the case of nervous players, especially if at the xame than by & stroke of tho wrist TH. KULLAK. S. mm A.‘Th. Bulla. Fr. Chi 4 S710) sacra ncaa oysmewt Sm “Ga Sa fa 4: 4 .L™L™rté“‘“™S™—™—SsS”™™C Le fe pe Pi P be. ae Ge a, 9.1 of 38 y eNotes # @ * Ge & # BD # F Sa. * SAM* ta # de® a2