Viennese waltz style was a thing almost entirely foreign to Fryderyk Chopin, and when the Polish-born, Parisian-based composer returned from a journey to the Austrian capital he declared to a friend that, "I have acquired nothing of that which is specially Viennese by nature, and accordingly I am still unable to play valses." To Chopin, as a result, it was left to reinvent the form on his own terms (though a certain debt to Weber's Invitation to the Dance is apparent). Chopin's very individualized waltz output falls easily into two categories: sparkling, highly ornamented little jewels suitable for actual ballroom use, or more purely musical miniatures that are far removed indeed from the fashionable Viennese waltzes of his time. The Trois Valses brillantes, Op.34 contains one example of the former category (the first of the group) and two of the latter (the second and third). Very different in tone is the Valse brillante in A minor, Op.34, No.2 that follows (indeed, the title Valse Brillant hardly seems appropriate for such a melancholy, subdued work). Of all his waltzes this was Chopin's favorite; he positively bathes himself in languor and longing throughout. A change of mode (to A major) at bar fifty-three ushers in a melody of striking loveliness, which, in a moment of bittersweet inspiration, is echoed in the minor mode some sixteen bars later. The opening sixteen-bar gesture is brought back (after a coda that asks the right hand to take over the characteristic waltz-figuration as the left one indulges in running eighth-notes) to serve as a conclusion.

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Viennese waltz style was a thing almost entirely foreign to Fryderyk Chopin, and when the Polish-born, Parisian-based composer returned from a journey to the Austrian capital he declared to a friend that, "I have acquired nothing of that which is specially Viennese by nature, and accordingly I am still unable to play valses." To Chopin, as a result, it was left to reinvent the form on his own terms (though a certain debt to Weber's Invitation to the Dance is apparent). Chopin's very individualized waltz output falls easily into two categories: sparkling, highly ornamented little jewels suitable for actual ballroom use, or more purely musical miniatures that are far removed indeed from the fashionable Viennese waltzes of his time. The Trois Valses brillantes, Op.34 contains one example of the former category (the first of the group) and two of the latter (the second and third). The Valse brillante in A-flat major, Op.34, No.1, is a kindred spirit to Chopin's earliest published work in the form (though not the earliest in terms of composition), the Valse brillante in E-flat major, Op.18. Marked Vivace, this is a work truly suitable for the ballroom. While the opening fanfare of the Opus 18 Waltz lasts just four bars, that of this buoyant A-flat major piece is extended (by the insertion of chromatically rising chords above a dominant pedal, and by a final descending flourish) to sixteen. The body of the dance sparkles with wit and energy; the coda, which is somewhat less danceable than the rest of the work, is strikingly similar to that of the Preamble to Schumann's Carnival.

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Authentic Viennese waltz style was almost entirely foreign to Fryderyk Chopin: when the Polish-born, Parisian-based composer returned from a journey to the Austrian capital he declared to a friend, "I have acquired nothing of that which is specially Viennese by nature, and accordingly I am still unable to play valses." Therefore, it was left to Chopin to reinvent the form on his own terms. The resulting, highly individual, output of waltzes divides easily into two categories: sparkling, highly ornamental jewels suitable for actual ballroom use, and more abstract miniatures that are far removed indeed from the fashionable Viennese waltzes of his time. The Trois Valses brillantes, Op. 34 contains one example of the former category (the first of the group) and two of the latter (the second and third).

The Valse brillante in A flat major, Op. 34, No. 1, is a kindred spirit to Chopin's earliest published work in the form, the Valse brillante in E flat major, Op. 18. Marked Vivace, this is a work truly suitable for the ballroom. While the opening fanfare of the Opus 18 Waltz lasts just four bars, that of this buoyant A flat major piece is extended to sixteen by the insertion of chromatically rising chords above a bass pedal. The body of the dance sparkles with wit and energy; the coda, which is somewhat less danceable than the rest of the work, is strikingly similar to that of the Preamble to Schumann's Carnival.

Very different in tone is the Valse brillante in A minor, Op. 34, No. 2 that follows—indeed, the title "Valse Brillant" hardly seems appropriate for such a melancholy, subdued work. Of all his waltzes this was Chopin's favorite; he positively bathes himself in languor and longing throughout. A change of mode (to A major) at bar 53 ushers in a melody of striking loveliness, which, in a moment of bittersweet inspiration, is echoed in the minor mode some sixteen bars later. The opening 16-bar gesture is brought back to serve as a conclusion.

The third waltz of the group, the Valse brillante in F major, Op. 34, No. 3, is more rightfully deserving of the "brillante" description than its immediate predecessor. Although quick (marked Vivace) and energetic, this is hardly a work that would find favor among elite nineteenth century dancers (it is, among other things, far too short). The waltz is not characterized by any particularly distinct thematic material; rather, its perpetual motion is driven forward in a seemingly improvisatory way. The pungent appoggiaturas contained in the fourth section of the piece have earned the Waltz the nickname the "Cat Valse" (as the unsubstantiated legend goes, Chopin's cat hopped up on the keyboard, his little paws striking the first notes of this passage). A buzz of witty activity draws the work to a close.

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Viennese waltz style was a thing almost entirely foreign to Fryderyk Chopin, and when the Polish-born, Parisian-based composer returned from a journey to the Austrian capital he declared to a friend that, "I have acquired nothing of that which is specially Viennese by nature, and accordingly I am still unable to play valses." To Chopin, as a result, it was left to reinvent the form on his own terms (though a certain debt to Weber's Invitation to the Dance is apparent). Chopin's very individualized waltz output falls easily into two categories: sparkling, highly ornamented little jewels suitable for actual ballroom use, or more purely musical miniatures that are far removed indeed from the fashionable Viennese waltzes of his time. The Trois Valses brillantes, Op.34 contains one example of the former category (the first of the group) and two of the latter (the second and third). The third waltz of the group, the Valse brillante in F major, Op.34, No.3, is more rightfully deserving of the "brillante" description than its immediate predecessor. Although quick (marked Vivace) and energetic, this is hardly a work that would find favor among elite nineteenth-century dancers (it is, among other things, far too short). The waltz is not characterized by any particularly distinct thematic material; rather, its perpetual motion is driven forward in a seemingly improvisatory way. The pungent appoggiaturas contained in the fourth section of the piece have earned the Waltz the nickname the "Cat Valse" (as the legend, totally unsubstantiated, goes, Chopin's cat hopped up on the keyboard, his little paws striking the first notes of this passage). A buzz of witty activity draws the work to a close.

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