Chopin Waltz Comparison

“Comparing All 20 Chopin Waltzes” surveys waltzes written by Frédéric Chopin from his youth through his later years, bringing together works published during his lifetime and pieces published posthumously. Chopin did not assemble these 20 works as a single collection himself; this selection is generally treated as the 13 waltzes from Opp. 18, 34, 42, 64, 69, and 70, supplemented by seven posthumous works. Beginning with the conventions of dance music, the set reveals Chopin’s expanding range of refined salon brilliance, singing melody, inward shading, and sophisticated pianistic writing. Its great value lies in allowing these different approaches to the waltz to be compared in sequence.

No. 1, Op. 18, opens with a brilliant introduction and expansive melodies, with striking changes of atmosphere. No. 2, Op. 34 No. 1, has broad, celebratory gestures and sparkling passagework. No. 3, Op. 34 No. 2, creates an intimate mood through its flowing melody and delicate ornamentation. No. 4, Op. 34 No. 3, is marked by lively rhythms and concise motion. In No. 5, Op. 42, continuous figuration gives the dance its momentum, while the overlapping lines demand careful balance. No. 6, Op. 64 No. 1, is distinguished by light repeated figures and a rapid sense of rotation. No. 7, Op. 64 No. 2, places a subdued melodic expression over a delicate accompaniment. No. 8, Op. 64 No. 3, combines bright movement with contrasting episodes. No. 9, Op. 69 No. 1, has hesitant turns of phrase and a tender wistfulness, while No. 10, Op. 69 No. 2, conveys a simpler, more introspective lyricism. No. 11, Op. 70 No. 1, interweaves an elegant melody with fine ornamentation. No. 12, Op. 70 No. 2, is shaped by a shaded theme and gently wavering accompaniment. No. 13, Op. 70 No. 3, combines buoyancy with sudden changes of expression. Nos. 14 through 20, the posthumous works, reveal youthful experiments, concise miniature forms, straightforward dance character, and delicate lyricism in different proportions. Even the shorter pieces have individual approaches to melodic breathing and inner voices, making it rewarding to distinguish their personalities.

In performance, the left-hand waltz accompaniment should not be made mechanically uniform; it must support a singing right-hand line while preserving a flexible sense of pulse. Ornamentation and passagework should serve the flow of the beat and the peaks of the phrases rather than speed alone. Pedaling should enrich the resonance without blurring harmonic changes or fine figurations, and inner voices that can easily disappear within the accompaniment deserve careful attention. Brilliant works call for a light touch and clear articulation, while lyrical pieces require a deeper tone and natural rubato. Across the set, the performer is challenged to vary color, rhythm, and breathing from one waltz to the next.

This collection offers an ideal way to approach Chopin’s waltzes not merely as dances or technical miniatures, but as varied piano works in which melody, harmony, rhythm, and pedaling are closely connected. Comparing brilliance and intimacy, lightness and shadow, allows the rich individuality within the shared waltz form to emerge. At Piabase, you can compare the technical difficulty, musical qualities, performance time, and characteristics of each piece, making it easy to understand the individuality and performance points of every work.