Schirmer's Library of Musical

Vol. 27

FRÉDÉRIC CHOPIN

COMPLETE WORKS

FOR THE PIANOFORTE

BOOK ONE

WALTZES

Newly Edited , Revised and Fingered

With a Biographical Sketch and Prefatory Note by

G. SCHIRMER , INC ., NEW YORK

Copyright, 1916 , by G. Schirmer, Ino .

1 Printed in the U. S. A.
 Library

32
FRÉDÉRIC - FRANÇOIS CHOPIN
sho wil
I

THE years are marching

25502 ( ji ]
solved ." Born in the very upheaval of the Roman
tic revolution - a revolution , be it said, evoked
rather by the intensity of its emotion than by the
power of its ideas — Chopin was not altogether one
of the insurgents of art . But his name was as the
stroke of a bell for the Romanticists, though he
remained aloof from them , his attitude, however,
being sympathetic. Chopin was a Classicist with-
out knowing it ; he compassed for the dances of his
land what Bach did for the fugue and choral. With
Heine he led the spirit of revolt, but enclosed his
note of agitation in a frame beautiful. The
coloring, the rhythmic versatility , " the lithe per-
petual escape " from the formal, deceived his critics,
Schumann among the rest. Chopin was the last
of the idealists, the first of the realists. His novel
form , his linear counterpoint, misled the critics
who accused him of lacking what is really one of
his virtues . We now know that Schumann was the
more romantic writer, his pages replete with formal
defects, while, in comparison, Chopin was a purist,
almost pedantic . He had no feeling for the epic ,
his genius was too concentrated , and though he
could be furiously dramatic the sustained majesty
of blank verse ( the symphonic form ) was denied.
With musical ideas he was ever charged, but their
intensity is parent to their brevity. And it must
25502
or laments in lyric loveliness over fate, his mother's
sex peeps out, a very picture of the beautiful,
capricious Polish woman. When he stiffens the
sinews of his soul, when Russia gets into his
nostrils, then the smoke and flame of his Polonaises,
the tantalizing despair of his Mazurkas, are testi
mony to the strong man - soul in rebellion . That he
could attempt far flights one may see in his B flat
minor Sonata, in the Scherzi, in several of the
Ballads, above all in the F minor Fantasy. In this
last -named great work the technical invention
keeps pace with the inspiration. It coheres. There
is not a rift in the idea , not a flaw in the reverberating
marble. If Chopin , diseased to the very door of
death , could build such a palace of dreams, what
might he not have dared had he been healthy ?
But from his misery came sweetness and strength ,
like honey from the lion. The last ten years of his
existence he grew amazingly, grew with a promise
that recalls Raphael, Mozart, Schubert, Watteau,
Keats, Shelley, and the rest of the early slaughtered
angelic choir. His flame-like spirit waxed and
waned in the gusty surprises of a disappointed life.
His music may not, despite its canonic classicism ,
conform to the standards of Bach and Beethoven ,
but apart from its interior message , its very ex
ternals are marvellous.
 he knew the joys of the chromatic. It is curious
that at one time Chopin was regarded as an amateur
among musicians, not as a " practical ” musician.
They declared him an unparalleled virtuoso , but
even to - day your pedantic musician raises super-
cilious eyebrows when Chopin is called “ ' creative. "
A cunning fingersmith, a moulder of decorative
patterns, a master at making new figures, all these
are granted , but speak of Chopin as a path -breaker
in the harmonic forest, as the forger of a melodic
metal, the sweetest, purest in temper, and you are
still regarded by many, critics and laity alike, as
one askew in your judgment. Yet Chopin invented
many harmonic devices; he untied the chord that
25502 ( v )
that “ Chopin is the proudest and most poetic spirit
of his time.” His transcendental scheme of
technique is the image of a supernormal conception.
At times he almost robs music of its corporeal
vesture and his transcendentalism does not lie
alone in his striving after strange tonalities and
rhythms, but in seeking the emotionally recondite,
the spiritual light that never was on sea or land .
Self -tormented , ever " a dweller on the threshold , "
he saw visions that outshone the glories evoked
by hasheesh , and his nerve- tormented soul ground
in its mills music " exceeding fine." He per
sistently groped at the hem of Beauty's robe, and
with these new, nameless effects like the violin in an aristocrat, and he did not care to be hail -fellow
the hands of Paganini. Chopin was called the well-met with musicians. This attitude and a
Ariel, the Undine of the pianoforte. There was certain primness, even asperity, did not make him
something imponderable, Auid, vaporous, evanes- popular. When teaching his manner warmed, the
cent, in his music as presented by himself that eluded earnest artist came to the surface, his halting
analysis, and illuded all save stubborn and pre- speech and insincerities were abandoned . His

judiced critics. Possibly this novelty was the pupils adored him . Here at least the sentiment was
reason why he was regarded by many musicians one of solidarity .
Moscheles, for example

man .

25802
 The acoustic parallelisms of Chopin are not as
vivid , as concrete, as Richard Wagner's; nor are
they so obvious, so theatrical. However, it does
not demand much fancy to conjur. up “ the dreams
and tramplings of three conquests ” in the Heroic
III
Of Chopin's life it may be said that he played,
composed , and loved . His love for his family was
later reincarnated in his passion for George Sand ;
his love for his country is vividly expressed in his
music. Self -exiled , he never ceased to dream of
Poland, and perhaps it might have conduced to
his greater happiness if he had not left Warsaw for
Paris. His was not a stirring existence ; no trium-
phal tours à la Liszt tempted him from his laborious
lesson - giving and composition. Buried in the pages
of his music is his spiritual biography; in actual
life he was a dreamer of dreams, a man for whom the
invisible world existed . Born of mixed nationali-
ties, there was a dissonance in his temperament — a
temperament once described by his friend Liszt as
25502 ( vii )
Saint-Saëns, Heller, Scholtz, Nicodé, Moszkowski,
Paderewski, Leschetizky, and a group of the
younger Russians, Liadow , Arensky, and Scriabine
—the latter particularly, who has assimilated
Chopin in an amazing manner.
a certain spleen. When he was in Paris he longed
for Poland ; in Warsaw he dreamed of Vienna or
Paris. An enigma to his admirers, an enigma
doubtless to himself, nevertheless Chopin was no
sentimental dawdler. In the history of the Seven
Arts it would be difficult to find a more painstaking
worker. He never spared himself, and his days were
laborious and crowded with ambitions not always
realized.
He was born at Zelazowa- Wola, near Warsaw ,
Poland, March 1 , 1809-1810 . I give these con
flicting dates because, while I believe the former
to be correct, Mr. Paderewski and other authorities
have assured me, however, that the latter is the
said on both sides. Warsaw has imitated the date,
1810, which is on the tomb at Père -La -Chaise,
Paris, so let the matter rest ; though I may refer
my readers to the magisterial work on Chopin by
Professor Niecks. The father of Frédéric- François
was a Frenchman from Nancy , Lorraine - probably
of Polish origin - the mother of pure Polish blood ,
by name Justine Krzyanowska. George Sand said
with her characteristic acuteness that his mother
was the supreme passion of Chopin . It is true.
Chopin was musically precocious and improvised
at an early age. His first teacher was a Bohemian
violinist in Warsaw , Adalbert Zwyny, and the lad
went ahead so fast that in 1818 he played in public
a pianoforte concerto by Gyrowetz. Later he had
the good luck to have as a master Joseph Elsner,
who , a severe disciplinarian , put his pupil through all
the classical paces ; and for his sound instruction
Chopin was ever grateful. He was an industrious
boy , practical in all that concerned his art, though
so modest when he made his debut that he told his
mother the audience had applauded his new collar !
Early he began experimenting with technical
problems. He travelled but little ; once to Berlin ,
and in 1829 to Vienna. Here, August 11th of that
year, he made his first bow to the greater musical
world , and with his Variations opus 2, on “Là ci
darem la mano,” he won his spurs. He went into
society - Chopin always dearly loved a princess—
was petted by the aristocracy, heard many singers
and musicians of renown and did not fail to profit
by his experiences. In the meantime he had fallen
in love with Constantia Gladowska, a singer, and
she, so he hints in a letter, inspired the F minor con
certo, or at least its poetic Larghetto . Like Goethe,
and many a lesser poet, Chopin transmuted his
emotional adventures into the terms of purest art.
25502 [ viii )
degenerated into a drawing - room entertainer . Luck
ily such was not the case . He never came into
actual rivalry with virtuosi like Liszt, Thalberg ,
Herz, Hiller, Kalkbrenner and others, for his public
appearances were limited , his audience few and fit ;
but his playing was so original, his music so ex
traordinary, that he was spoken of as one of the
elect. Liszt loved him , Heine wrote wonderful
prose about him , while Berlioz and Meyerbeer
admired but avowed they could not understand him .
Then the lady with the " sombre eye,” Madame
Aurore Dudevant, known to the literary world
as George Sand, appeared on the brilliant horizon
of the deracinated Pole. They promptly fell in
love ; George Sand described her sentiments as
" maternal,” but for Chopin it was love, desperate,
whole - souled , and, as events proved, fatal love.
There is no need to rehearse the pros and cons of
this famous affair, quite as famous as the earlier
one, which embroiled George Sand with Alfred de
Musset. Chopin was a “ difficult ” friend and lover,
and then his health was always delicate; Madame
Sand took him , in company with her two children,
to Majorca, but his lungs were not healed . He
confessed that the public suffocated him , and his
concerts became rarer . He continued to give lessons
to his more favored pupils, taking long vacations
at Nohant, where Madame Sand had her country
home. There were signs that the long friendship
was about to be ruptured. He was a trying
invalid , captious and exigent. Madame Sand has
frankly told us (as a " literary lady” she was
admirable in her utilization of every romantic
incident of her life) that she became weary of his
complaints and jealousy . They separated. It was,
literally, his death -warrant. But he went his usual
ways, composing, never saving money ; though he
 THE WALTZES
Of the Chopin Waltzes I have said that they are
dances for the soul , not the body. But their
animated rhythms, insouciant airs and brilliant,
coquettish atmosphere, the true ball -room atmo
sphere, seem to smile at this exaggeration. The
Waltzes are the most objective of the Chopin
works, and only in a few of them is there a hint of
the spleen and melancholy of the Nocturnes and
Scherzi. They are less intimate in the psychic
sense, but are exquisite exemplars of social intimacy
and aristocratic abandon . As Schumann declared ,
the dancers of these Waltzes should be at least
countesses. Despite their intoxicating movement
there is high -bred reserve, and never a hint of the
brawling peasants of Beethoven, Grieg, Brahms,
Tschaikowsky or Dvořák . Yet little of Vienna is
in Chopin . About the measures of this popular
dance he has thrown mystery, allurement and secret
whisperings and in them there may be found an
involuntary sigh. It is going too far not to dance to
some of this music, thus barring Chopin from a
world he loved. In reality, certain of the Waltzes
may be danced : the first, second, fifth , sixth , and a
few others; the dancing would be more picturesque
and less conventional than demanded by the average
Waltz, and there should be fluctuations in tempo,
sudden surprises, abrupt languors. The Mazurkas
and Polonaises are danced in Poland, why not the
Waltzes? Chopin's genius reveals itself in these
dance - forms, and their presentation need not solely
be a psychic one. Kullak divided the Waltzes into
two groups ; the first dedicated to Terpsichore, the
second frankly a frame for moods. Chopin ad-
mitted that he was unable to play a Waltz in the
Viennese fashion , though he has rivaled Strauss in
his own genre. Some of the Waltzes are poetically
morbid and even stray across the border into the
rhythm of the Mazurka. Nearly all of them have
been reduced to the commonplace by trite methods
of performance, but are altogether sprightly , de-
lightful specimens of the composer's careless,
vagrant and happiest moods.
25502
concerning the A flat Waltz, owing to the careless
way it was copied. This Waltz could be danced
to as far as its dithyrambic coda. The next Waltz
in A minor has a tinge of Sarmatian melancholy ;
indeed, it is one of Chopin's most desponding
moods. The episode in C rings of the Mazurka, and
the A major section is of exceeding loveliness . Its
coda is characteristic. This Waltz is a favorite.
The F major Waltz, the last of the series, is wild and
whirling. It has the perpetual movement quality,
and older masters would have prolonged its giddy
arabesque into pages of senseless spinning, though
it is quite long enough as it is. The second theme
is better, but the appoggiaturas are flippant. It
buzzes to the finish . Of it is related that Chopin's
cat, probably emulative of the fame of Scarlatti's,
sprang upon his keyboard and its feline flight
suggested to him the idea of the first measures .
As there is a dog Waltz I suppose there had to be
one for the cat. Not improvised in the ball -room
as the preceding, yet a marvellous epitome, is the
A flat Waltz opus 42, published July , 1840. It is the
best-rounded specimen of Chopin's efforts in the
form . The prolonged trill in A flat, summoning
to the dance; the intermingling of rhythms, duple
and triple; the coquetry , hesitations, passionate
avowal, and the superb coda , with its echoes of the
evening - have notthese episodes a charm beyond
compare ! The D flat Waltz, " le valse du petit
chien , " is of course George Sand's own prompting.
One evening at her home in the Square d'Orléans,
Paris, she was amused by her pet dog chasing its
tail. She begged Chopin ( then her pet pianist)
to set the tail to music . He did , and the world is
richer for this piece. I do not dispute this story,
it seems to be well grounded , nevertheless it is
silly. The Waltzes of this opus 64 were published
September, 1847. It is hardly necessary to add that
the D flat Waltz has been and still is played to death .
Even street organs drive its swift bars helter
skelter across their brassy gamuts. After Tausig
ſix )
darkness, into the church - yards, as Ehlert imagines
of certain other of these Waltzes. The two Waltzes
in opus 69, three Waltzes, opus 70, and the two
Waltzes respectively in E minor and E major, need
not detain us . They are posthumous. The first of
opus 69, in F minor, was composed in 1836 ; the
opus 42 Waltzes. It also recalls the D fat Etude in
the supplementary series. The E minor Waltz is
beloved . It is graceful and not without sentiment.
The part in the major is the early Chopin . The E
major Waltz is rather commonplace, hinting of its
composer only at intervals.

.
James Funiter

23502 { x }
 Thematic Index
Grande Valse brillante Valse
Op . 64 , NO 3.
Op. 18. Moderato .
Vivo .

Page! Page
1. 8. 50
Eb major. Ab major.

@ . 23 a . a ..
ora * Loc. * PRO .
Valse brillante
Op. 84, NO 1 .
Vivace . Lento .

2. 頭 9. p con espressione
12 55
of
Ab major. F minor.

Lao . Lao.

Op . 69, NO 2 .

3. 21 10 .
P P 59
A minor. B minor.

* 20 .
Valse brillante
Op . 70, NO 1 .
„ Vivace.

4. cresc . 26 11 . brillante f 63
F major.

pro. Pio . Leo . * *

Valse
Valse Op.42 .
leggiero . Op . 70 , NO 2 .
Viyace .

5. 30 12 .
P my 66
Ab major. F minor

@. * . *

Valse Op . 64 , NO 1 .
Molto vivace . Op. 70, NO 3 .

6. 13 .
40 70
leggiero. dolce e legato .
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* Peo. * Tho. * Tel. *

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Tempo giusto. Vivace.

7. 44 cresc . 73
C # minor .

teo. * Pho. * tea . * mo.

15 .
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25502
WALTZES
 3
À Laura Harsford

Grande Valse brillante

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Printed in the U. S. A.
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À Mademoiselle de Thun - Hohenstein

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 21

À Madame G. d'Iory

Valse brillante
Revised and fingered by

F. Chopin . Op . 34, No. 2

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2 1 2 1 24 3

25502
* Deo. *

Copyright, 1915, by G. Schirmer

 22
243 5 5 2
43 1 243 5 43
3 3. N

1423 18 5
423
如. 条 . . 量

.
.

Sostenuto
243

13 3
KO.
KO. 8
41
23
243 243

. KO. Leo.

243

be

2
P

步鞋

如,

2
243

5 (Leo.
25502
 23
12
2 2 5
1 8

PP

K. . So, 卷
5125
3 23 25 14
34

字
7

2 3
3 5 31

5
3A
243
3
3

3212124

. * K. . *
.

43 5 243 45 143 1 5
23 AV

如, 张 Pues.
宗

.
5
23

25502 13
. 崇 CO.
.
 34
sostenuto
243 243

ff

穿
3 Leo.
. . *

54
243 25

Leo. .

4 243
199

© 常

24
( 243 12
音

pp

Deo.
5
5
3 1
2 2
的
N厂

2 3 2 31 2

C. -

8
办 4

3-5 4
32
Led.
.
 25
3

dolce
TTT

2 4

32 3

5 5 3

PP
dimin .

1 1 4 3
1 4 3 3 4
3
LEO .
3. 2
4 3

FE

8
1
3
*

Peo. ***
Peo. Leo.
4
a tempos,

poco riten ,
dim .

1 2

Leo.
5
2

2
2 3

4 35 *
co.
Leo.

2 ar

32
 26
À Mademoiselle A. d'Bichthal

Revised and fingered by Valse brillante

F. Chopin . Op . 34 , No. 3
Vivace

biz 38

>
fi cresc .
4. 1

Pe . * Deo. Deo. Peo.

4 1 2 3 2 2 34 2 3

£ P cresc .

Peo.hu

3 3
3 4 1 2 3 1 2 3 3
2 2

ਹੈ
1

5 5 3
3
4

3 4 5 3 EE

Leo. Lab 3
Leo.
53 5 3 18

pis

La . * Lea. ***
Pe . * 4
Leo.

44

25502
Peo.
Copyright, 1915 , by G. Schirmer
 27

EEE 毛毛

*
. 然
. . -

243
243

各
. 张 .
Leo. 然 .

54
54 83
为

be

4
Lea Pasimile
如, # . 将 Leo.

5
243
5 2

5 3
2

843
5

25502
 88

4 5
3
bied

p f 2

卷 Led. # Leo. 卷 Leo.

.

2
32
boo
语

ff P

Leo. Leo. .

S … 8
3
34i

f P f P
--

革
4

Ra . Led 着 .
朵 ,
be 23
32
场,

. . Pero

4
4 彬 4
be bo.

S. * 售 类 Leo
843
如
5
ba .

#
25502 基 基
臺
 29
243 253
be : 5

crese.

Leo. Leo.
5 3
4

5 3

Leo. en het Pa
Leo . Leo.
5 3
2 3
2 4

barbe

Leo . * Leo. 4

24
4 2 4
5 5 4

dimin .

11
34 2 3
3
Leo. 5
perdendosi 3 4
TIT

. 2 \ ff

peo. Leo.
CHISO

4
83
5
3 E
TT

5
2
1

25502
Leo.
 30

Valse
Revised and fingered by

F. Chopin . Op . 42

Vivace

etaTOP
5
.

24
р

leggiero
5 5

Leo. Leo. Leo.

5 4 3 3

*
Tueo . Leo. Leo.

4. 5 5 5. 5

Leo .
to

Pro. Peo.
Preo.

5 4

pp
4

mo
25502 Leo .

Copyright, 1915, by G. Schirmer

 31

( 經

*
. Ped.

. Leo. Leo. Leo. .

5 4 fr
21

Leo. . 条 .

24 4 35
5 8
3 1242

* Pe . .
.

5 3 4
13
14 3
3

bee
=

步
3
5 米 举
Leo. .
4 3
s … 5
8

25502
然 . 考
.
 WINWA
32
5 818 3
出 2 4

* . 类 . . 张

3 3
2

. 着 . 然 如, 於
Pe . .

4
由 3

如 , 类 . 类 .
Co.

5 3 2 13
14 3
1248

距
.
卷 Leo.

3 2
12
奉 。
纯

bee &

*
. .
※

业 。 Leo.
5
2
8 5 5 8 5
12
多 >

种子
cresc .

25502 . .
 33
5 5

cresc.

Leo. Co., Leo. 如,

= .

fb.
2

.
.

5 125
3

( :
JF p leggiero

萨
*
. . 条
.

24
3 25
8.
3
TTTTT

. . .
.
5 3
13

生
. * . 类
Ro ,

8 1

25502 . Peo.
 34
sostenuto
1235 3 2 3
3 2

mf

.
Yo 类 . .

5 2 2
-

Re . . . . K. . 接 ,

4 34 54
5 3 5 154 1 21 5

. .
Co. . 米

5
53

3 3
2 1 8 2

ON
关

生 。

. 来

35 5 3 3
4 3 1 5
2 2 1 2 2 3
who

史 佳
4

25502 .
. . .
.
 35

35 5
2 3 4 5 4
3 3

bg

cresc .

Piea. Peo. Pa .
Pro. Leo. *

2022
3 5 3 2 5
3

p leggiero
79
18

Peo. Leo . Pa .

ell
5 8
3

Pe . Pa . *
Ati

2
1 4 1 3
3

be bee
to

3
*

*
Pro. Leo. Leo. Peo. **

8 -----
12 4 2 1 2

25502
Leo.
*
 36
5 5 5 5 5 5

Teo. Teo.

Leo . Leo. Pea

5 5 4 5

Her er

Pao Led. Rao

bed

Pp

*
Leo.

the

Led. Leo

25502 Leo. Leo .

 37

2
3 2. 3
&

sostenuto
p leggiero

be
Peo.
Pea .
4
8
3
b3 haben

cresc .

Leo.
Leo . Leo.

4
3 4 3

ehf

ff

2
Peo.

3 4
.be 4

dim .
р

Rea.
NTIT

4 3
por

5 2 1 5
3 2 3 5 2

cresc.
PET

Pe . Pe .
La .

5
3
ht

fs P
f

+
25502
Leo. *
 38

41

5 5
4 2 5 2
3

B4

p cresc .

Km。 TO. 米
. Leo. *

5
5 5 3

兰 名:

Leo. 类 . . 华
Rao.

5
5
5

毕
子

SO. .
然
如

5
2 4 2
3
,

fuo p leggiero
be
Ali

9
男
类
*

Th ,
25502
类 a.
 39
5
2 5
2
8

cresc. poco la poco

be

Pe . Fa . *
Pro. *

3 2 5 3

f ff
bee

f
Peo. Pe . *** Peo. Leo. ***

accelerando

Pao. La . *

cresc .
ff

Leo. La . Pac

2
5 3 13

25502

Leo. 3 5
 40
Revised and fingered by A Madame la Comtesse Delphine Potocka
Rafael Joseffy
Valse F. Chopin . Op . 64 , No. 1

3 1 2 5 3

6. leggiero

353

Rea . et on Pe . Peo.

253 1 2 4 3 5. 3
1 3 5

Le . peo. Ped.

353 253
M 2

* Peso Teo. Pao.

5 3
3 2
3

cresc . bes
4
Se

Geo. Pa. Leo. Leo. Leo.

3 5 4 3 2 be

1
bek 3. i

25502 Leo. leo.

Copyright, 1915, by G. Schirmer
 41
5 3
5 3 153 14
1 13 2

bek

里
. Leo.

1 5
1 9 3,

P sostenuto

. 卷 . *
. Leo

1 3 8 3 8 3 8

So. . * . 卷 o. 卷四.
*

5 5 空 包
2
站

dolce

. .
.

打包 3 1 3 3 2 2

在 美

2 . . . . . 如,
.

打包 力 2 poco riten . 3
3 2

行 至

3
25502 . Leo. Leo.
 42
a tempo
482
1853
中 中

353

. ※ Leo. . 然 , 卷
. 条

4
253 4 53

, 基
. 然 . So ,

4253 2 253

. . 卷 .

2 13

3
cresc.

岁
25502 经 , 是
. Co.,
 43

5 4

13

tao . Peo.

5 3
53 1.5 3 14
3

38

.
P R

bes

* Leo. Peo Leo.

Leo.

cresc .

bee

Tras Piea . Leo.

8
5
rit .
3

25502
Leo.
 À Madame Nathaniel de Rothschild

Revised and fingered by

3 F. Chopin . Op . 64 , NO 2
Tempo giusto 5
3 2
1 5
5

7. mf

Pad. *

*
Lao. Pa . Leo.

3 5
5 4
2 3 4 2 3 2 3

#p .

Leo . * Leo. Lao. Lao.

Leo.

4 2 3 2 3 4 3
3 2 2 3 3 1
FX X
244

*
Pao.
Pac.
3 5
3 2 1
1

X2
30
1

Leo. Peo. Peo.

Pa . *
3 5 4 2 3 2
3 2 45
1 1

Deo. NE Peo.
Roo.
3 243
2 45 2 3 3 4

fi mf
yetu

25502
Leo.
Pea
Copyright, 1916, by G. Schirmer Pad .
 Più mosso 45
5 3 5
3 3

3 自

乎
. . KO. .

45 4
53 2 4 3

. Leo. Laa . . 然

3 4
3
TTTT

. 米 , 卷 . 卷 . 条

PP

La . 条 . Leo. 卷 Leo. Leo.

9
. 米 . 类 . S
“ . 4
8
21
另

25502 Leo . Le . . 卷 , 卷
 44
À Madame Nathaniel de Rothschild

Revised and fingered by

F. Chopin . Op . 64 , NO 2
Tempo giusto 3 5
2 5
5

7. mf

. . .

32
5
5 4
4 3 4232 3 8

. Leo. .
So , .

4232 3 43
32 3 3 31

. .

*
Lao
35
3 21

来 * .
. 卷 ,
. .

)条
3 4238
的
3 2 5
1 1

. . Pe .
举
*

3 243
2 5 # 33 34

户 mf

25502
.
Copyright, 1915, by G. Schirmer
 Più mosso 45
5 3
4 3 3 3

6
1

*
Poo Leo. * Pe .

4 5 4 3 4 4
4 5 3 2 3

Leo . Leo. Leo. *

Peo.
8
3 4 2
3

‫ܘܶܐܬ݂ܳܐ ܀‬

Lao . en Leo. Leo. * Leo. Leo.

PP

La . Leo. y Leo. Le . La .

toe
SET

Piro.

Leo. 4
8 -...
2 1

25502 Leo. Lao Le . to Red.

....
 Più lento 46

5 45 4 3 3

mf

% 5 3
.

5
4 2 3
3 2 2
去

* 4
.

3 3 4 8 3 2 243
bbg M 33

. . 如,
. 杂
4 1 154
5 4 2
3

¥
dolce 8. 3

4 .

Leo .
5.
4 2 3
3 5 2

5 5
如,
.

852 4 243

poco ritenuto

3 3
25502
.
 47
Più mosso 3
35 3 5
3

mf

Leo. Pro . Ra .

45 4 3
5 3 2

* *
Lico. Leo. mit Leo.

8
3 3 4 2 1

La . a. Leo. * Pea. *

PP

You

Leo. Reo. *

9 *
Reo. Leo.

mf

25502 *
Leo. wo. Leo * Leo.
 48
Tem po 1 ° 4
5 1 1

XL

基本

. *
* Leo. .
.

32
3 4
1 4232 3

步
. . .
.
32 3
2 3
出 一 出
-
年

X
生

Led. .

5
3

Leo. . 会 Le . Pad.

杂
. .

3 5 4333
1 45
1 8

* .

Pro. . .
杂

Leo.

3 243
2 W2 3 45 3 4

mf

25502 .
. Co.
Klindworth :
 49
Più mosso
3 3 5
3 3

Pe . ** Lao.

4 5 4 3
4 5 3 3

Leo. *** Pro. La . WA Leo.

Rao.
8
3_4 3 4

Ped Peo. la . peo.

pp

Leo. pao. Leo

*
Peo. Leo. Leo. *

La .
8
bei de

Al

25502 *
Pro Leo. * Leo.
 50
Revised and fingered by À la Comtesse Katharina Bronicka
Rafael Joseffy
F. Chopin . Op . 64 , No. 3

18 24
8
.

Leo. Leo.

5
4 3

2 Pro. Leo.
peo. Leo. Leo.
Res.
5
54
5 4 2 14
1 2 3 4

f 1 P
2 21 2 be

4를
2015
La . * Leo. * Leo.
Leo.
Leo .

3 3

Leo. Preo. * Peo.

Reo. 5 Teo.
5 4
2
314 2

23

*** Leo. Red . **

Leo.
Leo. Leo.
5
14 2 5
8 5 4

25502 Pro. * Leo. Leo.

La . Leo.
Copyright, 1915, by G. Schirmer
 54
3
13112
3

cresc .
ff

. . 典
So , 类
如,

18bet 5

be be be

. . 类
* .
Ossia :
5 5
2 3 35 1134 8,5

發
P

S. *
. . . 类
“ .
3423
3

cresc

然
.
: .
3413
riten . 23 5 4 3

cresc . 产

ff

. . *

5
4 3 45

雖
- 25502 律
* 如. . 卷
m
 58

cresc .
sotto voće

3 4 384
3 .
“父 o .

3 5

2
31 31252

3
4 5 5

4 21
在 3 38
4 3145 2

HH

be be

号 34 分
5

be

5 14 3

poco riten .
5 4
3.

bebee be L2 3
bet 43 5. 2
he

25502
 53
a tempo

1 5 3 3

sostenuto

Leo. Led. man Rico. et Deo

5 5
4 3
3

Leo. * Pa . * Peo.

3 5 4

f
be

* La . *
Le .

3
+

mf

fac. et Pao . * Rico. Leo.

IST
IT(

5 1 3
5 31 4 5
3 1 3

Rao Leo. * Pa . * 4o .

8 2 3 4

cresc .

. th

25502 * Pea everything Leo. Led.

 54
3 4

Piea. Leo. Leo. Leo. ***

Leo.

3 poco a poco accel. al fine

2 3 5 5 5 4
2 4 3 4

р
dim .
bbt
bare

* Le . Leo.

5 3 1 2 3
4 5 5 2
2 3 2

cresc .

Leo. sem Leo. Leo Leo.

3
4
4 4
2 3

Leo.

3 2 3 2
3
2

decresc.

* La . Peo. * Pea. in Pe .

8 3
beecké
CAH110

cresc .

25502
 55

Revised and fingered by Valse

( Posthumous )
F. Chopin . Op. 69, No. 1
Lento (d: 188 )
5 2 3

2
3_4 2 8 3 4 1
2 4

3 3
cresc.
9. p con espressione

be
4 5 145
* Pa . Pao
5
3 2 2 3 2 3

3
f P 5

e .

4 34 5 4
Peo. Lan. * Peo. * Leo. Rea . Peo.

2 2 a tempo
2 3 3 4
24 4 3 3/4 3

3
riten .
be

27 e . 2

5 4
La . * Peo. Leo.

4.3*
2 4 3 4 3

3 cresc.

38
4 5 45
123 5
Le . Peo. Leo
5 5
5 143 3 12 1
3

P PP

34 5
Ped. Leo. Leo. Leo. Leo.
5 5
2 a tempo
1 2 3
3 34 3

3
riten .
be

2
5
25502 Pro. ***
La .
Copyright, 1915, by G. Schirmer
 56
con anima

LE
‫لے لیا‬ ‫لے لیا‬

mo

La . La . * Pe .
5
5 3

BE
2) ] ‫لے لیا‬

Laa. Rao. Pao Leo.

5
424

13 3

sha 2)

Lea . Led. *

riten . a tempo
3

cresc . con forxa р

La . Pea Pa . * peo . 5
3 3 3

cresc f P

14 34 15
* * Pa . *

14 3 2 1 2 1 3 1 5
23
2 4 3 34 3
dbe

79
3
riten .
be

14 5
25502 Lea . man Pa
Lao. Ped . * Ted . *
 57
a tempo
5 745
3

(
3 2 4 3 3 2 4 3 3 3 2 4 3

20

10
ten . ton . ten .

dolde

Leo.
Leo. Pao. Peo . Leo.

2 5 2
W0100

4 3 2 4 3

tent . ton .
)

Leo. La . Pe . Leo.
2

ton . ton . tent .

Leo. Leo. Led. Lea . Laa.

4 5 5 5
4 1 5
3 3 1 2 5

poco a poco cresc .

3 14 f 5 3 4
..
)
e

3 3 2 5
1 3
ten .

f р dolce
be
长

2
3

Leo. *
(

2 2 5 5 5 45
3 3 2 3 2
1991

24 1 1 3 2 4 3 3 4 3 24 5
00

ten . ten . ten .

de

25502
Po. ..
Neo Pa .
 58
5

2
1
2 5
o

poco a росо cresc.

45 dolce 1
5
3 2
2 4 3 3

Pa
)
ten .

3
sf
f р
be

Leo. Pao .
45
3

ten . ton .

ra Led. Leo. *

2 3
2 4 3 3 3 4 3

3
mf

a .
용
4 45 4
La . * Pad. Pa Pa .

5
5 2
2 3 3

f р

Leo. * * Leo. La . Pa
5 5
3
3 3

3
dim . e riten .

25502 5 Teo
Leo. Pa
 59

Revised and fingered by Valse

( Posthumous) F. Chopin . Op. 69. No, 2

Moderato (d :162 )
3 4
3 5 4 2 4
2 3 2 3

10 . P

Leo. Leo. Pao. to Le .

5
5
2 3 2 3 2

sf р

Leo. Paa * Le . La . La .
Led.
5
3 4 riten .
31 5 3 2

cresc. dim .

* Pe . Peo. 5
3
1 2 2 3

a tempo rf
р

Pe . Led. Leo. La . Res .

1 4 5
3

dim .
р

2 .
that
so

Leo. Pao. * La . Leo. Pa .

riten . a tempo
3 4 1 4 3
31 5 4
2 4

dim .
mf

de

9
25502 . * Leo.
Copyright, 1915 , by G. Schirmer
 60
con anima 6
8 4 8 4

的 ,
Leo. 卷 . * Co. 条 Leo. . 卷 ,

315 5
2. 8 4 8

rit. tempo
在 在

杂
. m
Leo. 如.

5
4
4 8 38
18.A.

sf f
f

。
6
. Ped. .

21

*
Leo. 条 La . Real

*
Pao. 卷 .

a tempo
25 1.
3 4 4 8

rit.

Pa . . 卷 , 条 Pe .
a tempo 45
3 3 2
12 . 3
.

丰
mf dolce

毕
25502
. Pea * Pea. 举 卷
*
 61
5 4 5 4
2 1 4
24 8 2

cresc, un poco

mi
Leo. Leo. * Leo. Leo. the Red.
5
4 3 2 1 2 3 1 3 5
5 4 5 2

dim ,
mf

等
Leo. * Leo. Puco. Leo.
5 5

no
1
2 1 2 2 4
3 1 38 1 3 5
1 2 3 2
2 3

4
creşc.

La . * Leo. * La . * Leo. Leo. * Pa .

5 1
5 5 4
1 2 1

dim , р
f

5 5
Leo. Leo. the Leo.
Peo.
5

Pao. gaa. * a. = Leo. * La . Leo. * Ped.

rit.
3
31
3 3

23

25502 co . La Pia # Leo.

 62
5 1 4 3 con anima
3 4 a tempo 4

dim .

Leo.
La . Lc .

rit. 5
5 4 3

*
Leo La . ha . La . Lea.
a tempo 4

124
La . *** Leo. Peo. Leo. Laa. Leo.

4
5
2 3
# 8

f sf

5
La . * Lea . Ped. Led. * goo. Res.

4
2 L14 5

rit.

La . y Leo. * Leo. Leo . * Deo.

5
31 E

calando e dim .
f

25502 Pa . wa * Pa . *
 63
Revised and fingered by
Valse
Rafael Joseffy F. Chopin. Op. 70, No. 1
( Posthumous )

2 5
3
or

+
3
11 f brillante

tof 97
Leo. hoo. Pao.

2 5 5
or 4 3 2 2 4 3

3 3

26 t
Pao. Peo. Ped. Leo.
Leo.

3 3

Leo. Lie . Teo . Leo.

S
3
8 13

3
f

Peo. Leo.
Pao.
Pero.
8 8----
243

Pro Leo. Pa .
Leo. Peo.hu

molto riten .
3
美 美
5
25502 Pa . Pa . pea . La . *
Leo . Pea
Copyright, 1915, by G. Schirmer
 64
Meno mosso ( d = 96 )
34
3 2
8 32
8 3 1
#
英
cantabile
P
至

.
.
3 12 34
3 18 3 8 (4
3 3 8 4 1

求
. Pao. 举 .
.
4 3

》 ,
Leo . . Led. .

38 3
至 5
是 因
华

POCO POCO cresc.

p
3 8

求
5 .
县 44
18 3 2
2 3 4 3
日 会
产

基 | 套
產 重
步

* 如, te .
Pao .
3 2 3

章 毒

25502
Led. 基
 65
45 4
5

经
poco 0 POCO cresc .
一 P

基 Leo.
5
4 5
3. 5 3
2 2 4 4
3 2

斗
如, . Pe .
Peo.
Tempo lº
8

f brillante

#
Preo. La . 如

8
中 243 2 8743

. Paa 池
.
-
2 3 3 3 如
3

3 3
继 3
P

泰
典 条 Pea.
.
8 8

3 3 3

空
字布 香
5502 ※ Co. 崇 . 张 基
Teo
 66

Valse

( Posthumous)
Revised and fingered by

F. Chopin . Op . 70 , No. 2

Tempo giusto id = 144) 124

3 3
3
4
cresc .
12 . mf

54 15

2 5 4 1 5 4
5 5
3
3

lood

83
4 5
15

5 4 3
3 te bien

3 4 1 3 5 2 4 3.
25
5

р riten . a tempo
2

e bebe

Ped . simile

124
3 4 3 2

cresc.

25502 54 5

Copyright, 1915 , by G. Schirmer

 5 4 5 4 67

5
5

5 2 4 1 2 5 3
3

FA

р
కాగా

Ped . simile p.

2
3
rat

dim .
PP
P.

25502
 68

lor
3 2 3 5
1 1 2 3

f р

Crown 132 132

4 1 5
or 2 3
2

cresc .
bele

p.

124 3

cresc.
mf

54 15

5 4 1 5
5 5 5 3
2 4 3.

5 3 3 3 5 2 4
2 5 3 4

P
P

25502
 69

12 53
343 5 2
2 3

15
3 2 3
2 2 5

ff 2

4
遊

5
843 5 4,5, 4 5
04
TITL

dim .
PP
f
至
SA

132 132
4

cresc .

bee de
口

25502
户
 70

Revised and fingered by Valse

( Posthumous)
Rafael Joseffy F. Chopin . Op . 70 , No. 3
tr
5. 5. 4 3

13 . p dolce e legato

Pe Peo . *
Leo. Teo.
5 5 5
3

Leo. a. a . Peo. Paa .

Lico.
hr
3

bbe

9
V་༤

* Leo. Leo Leo . *

Leo **
པ་གྱི

teo.
4 5 3 5 4 5 3 2 4 5
2 1 4 3
1 2 1 2 1 > 4 > 3 21 3 4 5

Lea . *** **
met La . Le .
*

Leo. Le . Voor
5 4 3 5 4 3 3
2 54
2 2 2.

mf
dim .

Leo. Leo. Ped. Pe . ** Leo.

r 4 4 5 3 3

dim .
bet

25502 Peo. e . Leo. La .

 1

Ver
3

<
cresc .

3 42 812 41834
18 1234
58

西
|
cresc .

2
18 123 1 23
Dec. 653

1. 2. 4 5
2 353 2

Leo. 考 卷
.
53 323 1.5 2.
2

cresc .

138
, #
. So ,
5. 5
3

2 2

1 4 2 3 1 234 1 2 3 4 123
3
.

38

cresc . P
台

強 站
25502
 60
con anima 5
8 18
-

的 ,
Leo. 卷 Leo. 卷 . . Leo. 条 Le .

315 B
8.

身 一
rit. tempo
在 各

. n. 卷 *
Led. Pa .
5

4 8 32
經 毕

f
ff

Leo. 华 . Pea m 条 La .

2.14

leo. Paan. Lea beo.

a tempo
3 25 1.
4 1 2

音 西

rit.

. 卷 . Leo.
a tempo 4
>

2. 3 4 3
3 83
跳

mf dolce

年
25502
Leo. #* Led. 卷 Ped. Laa. 卷 Ped. 卷 如
 61
4 5
2 1 2
24 8 2

cresc. un poco

Leo. Leo. Leo. 4 Led. * Leo.

4 5 4 3 4 5 5
4 2 3 2 1 2 3 1 4
4 2

dim

mf

Led. * Paa . * Tao. la . Led. * Leo.

16-1
5 5 5
1 2 2 2
3 1 2 1 3 5 4
1 2 3 2

creşc.

*
* Pa . * Pa . * Peo. * Peo. & Ped.
5
4 5 4 1
1 2 1 2

dim , р
f

5 5
Leo. * Re . Rao. Leo.

5 4
3

Led . Leo. * wa . * Pa . Tea . & Leo.

5 rit.
3 4
31
3 3

25502 Buco. Led. * Pia * Pa . * Parol

 62
5 con anima 5
a tempo 143 4

dim .

Leo.

rit. 5
5 4 3

Leo. . hoo. . Laa .

a tempo 5

時,
. 举 Leo. Pe . Led. . Leo.

4
6
3 4
3 4 3

f sf

5
Leo. Lao. Leo. La . - 220. 於 Co.

5
2 L14 5.

rit.

. 本 举 . Leo. Led. 卷 .
5
6
5
4 4

calando e dim .
ff

義
学部

25502 . #m.
 63
Revised and fingered by
Valse
Rafael Joseffy F. Chopin. Op. 70, No. 1
(Posthumous)

5
3

3
11 f brillante

23

Leo.
Leo.
4 5
2 4 3

3 3

eb
Pao. * Leo. Peo. Leo.
Leo.
8 8--...

3 3 3

Leo. 3 Leo . Pico Leo.

lic
8- : 3
3
3

PE
3
f £ £

tao. Leo. * Teo.

Leo.
Leo.

8
243
or

U
Leo. Leo.
Leo. Leo.hu

molto riten .

-3

so
y
25502 Teo . La .
Leo. *
Copyright, 1915, by G. Schirmer
 64
Meno mosso ( J. ge )
5 34
3 32 4
3

cantabile
續 P

Leo.
Ka .
号
3 12
12
3 3
公分
整

. 来 La . La . 举 學 .
基
8 3

. Tao. 条 .

*
38 3
维维

POCO 0 POCO CTESC.

p
3

集
Ra . La .
.

(18 3 2 4
1 1 1 8 3 4 3
生
是 由 会

导
p

本書

. 卷 Pa . Le .
.
3
至

毕
25502
Pao ., Pa .
 65
5

poco a poco cresc .

一 P

.
5
4 5
3 3 2 4
5.
32
日 耳

*
.

路
Leo. . Pa .

卷
m
Tempo 1 °
8

f brillante

Ped.
Pe .
*

La .

2 8 43
243 2 2743

3 3

座 步

. 然 如, 洪 Peo. 港 .
Pe .
8
2 3 2 3

3
3 3
P

Leo. Pe .
.

毕 男
在
25502 . Co. 典 Leo. 洪
Ped.
 66

Valse

( Posthumous)
Revised and fingered by

F. Chopin . Op . 70, No. 2

Tempo giusto id = 144) 124

5 3 3
4
3

cresc .
12 . mf

2 5 4 15 4
5 3

bet

3
4 5
15

3
3 the bi 3

3 3 3 5 2 4 3.
3 4 5

wyр riten . a tempo

2

Ped , simile

124
3 4 3

cresc .

be

54 5
25502

Copyright, 1915, by G. Schirmer

 5 4 5 4 67
4 3
3

be

2 3
1 3

5
3 5 4 3 5 2 4 1 2 5 3

पर
में

5
23 12
2 3 4 3
2 4 35
2

p
f
ff
IN

Ped . simile P.

1 2 53 5 3 1 2
243
3

ff

dim .. pp

25502
.
 68
3 23 53 2
2 11 2 2 4

f P
臺

此 * 5 132 132
5
4 123
2

cresc .
定e le
1

身
5
户

A)
12. 3

.
cresc.
m

54 15

2 5 4 15
3. 3

13

3 4 3 4 35 24
25

P
P

座
25502
 69

25 3 2
243 5 3

3 2 3 1 2 5 3
1 1 34

f P

5
243 5 · 5.
1

dim . |
f

華 古>

1de de

f
至

132
132

cresc .
be

5
25502
 70

Revised and fingered by Valse

(Posthumous)
Rafael Joseffy F. Chopin . Op . 70 , No. 3

3 2 3 4

'1
13 . p dolce e legato

Pe . Lea. **
Leo. Leo .
5 5 5
3

Peo. Peo. Pro. Teo. on Leo. Leo .

bbo

a bbo
Leo . * leo. ** peo. *
5 4 5 3 5 4 3 3 2 4 5
1 2 1 2 1 4 2 1 1 21 fr3 4 5
2

mf
f
bbe i

Leo. * Veer

*
Leo.
5 4 3 5 4 3 3
2 5 3 5 5 4
2 2 1 4 3 2

mf
dim .

Leo. Le . Leo. La . Leo.

5 53 3
5

1 HA
dim .
be

25502 hed. Leo.

Lao
Printed in the U.S.A.
Copyright, 1915, by G. Schirmer, Inc.
 1

5A
3

12
cresc .

的 3 42 3 1234 1884
13 1234
53

cresc .
中

2
18 4
653

1. 2. 4 32 5
2 353 2 1
1

Pao. Piea.
.
53 3 11.5 3.
1

关
2
cresc .

3
138
举 K 举
. * .
5
5 年
的负

序
1 4 3 1 33 4 1 2 3 4 1234
3
.

32

cresc . P

25502
 72
5 5 3
5 5 415 中
4

2 11 1
dolce e legato

Tm Co., *
KO.

CO. “C. 基 K. . “ , Co.,

Late Reo,
如,
Kor .
A58

nort

453 54 3 4 3 452
121 21 8 4 1 > 4 > 4 >3 1345
2

mf

© 基
* . KO, .
.
* 52

43 3
8 3 5 3
2 84434 2

(
mf
dim .

2 ,
. . * . . *

2 3 中 35 4 5
2

dim .

库
Leo. #
25502 ※ . Led.
 73

Revised and fingered by Valse

( Posthumous)
Rafael Joseffy F. Chopin

2 1 2 3 1 ST2 41
14 . р 1 cresc .

La . Leo. Leo.

*
5 85 3
grazioso 3 8
3
EE 2 4 3 1 3

f Pi

Bes La . * Pu . X
5
854 4 3
8.54
2

2 24
2 4 3 1

Reo. Peo. Leo. * Pad * Rao. *

8 3 3 2
2

dolceme legato

bo
5

La . Deo. 5 Leo.
Pa . Pea Lea . Leo.
Peo.
5
5 2 1 3 2

Leo. Leo.
Pied La .
87 3
5 5 3
2 2 1 2 1 dola 3 1

**
*

La . pua
25502 Printed in the U.S.A.
La .
Copyright, 1915 , by G. Schirmer, Inc.
 74 5
1
S 4

. 然 如, La . . No.

1. 2.

¥
.
毕

So , . 然 . Leo.
.

dol. 5413
吃 4
5

兴 多

. 書 如, 普
. *
. To

5 3

. Leo. . .
类
Co.

413
5 3.
वी
出

. “. KE. 类 . 类
卷
*

12
25502 Ta
*

华 Leo. . .
 75

然
移 多

生
ST 1 1
54 2 3 15
KO. .

中
CO.
5 KO. 条

( 红
2 bo ..
非常

. 选 类
5 .
.

4 4 台

PP

“ . . Leo. .

分
年

蒙
LET

产
4 54
3
. * 學
5 4 CO.
CO .
1

XL

华西
1 10
3 15 5 .
.
子 “

PP

25502
米 卷 , “ 娘 , a. *
 76

Ped. Lee . Pea 法

5.4
3 431 3 2

Sec . . So, Pe .

5. 9

10 2 431

cresc .
f het

. . .

米
2 4
5
3
2
#

ff
琴

. .

53 25 53 2

peo.
3

25502 .
FEITA

This Valse , the authenticity of which

is questioned , is inserted by the pub Valse
lisher , however, without Mr.Joseffy's
editorial revision.
( Posthumous)
PITHA

Edited by Carl Mikuli F. Chopin

Tempo di Valse
13

15 . f mf 2

5
4 4 3 1 3 5
3 3 1 4 3 1
2 e 1 2
W0

Pр
2

15
]

5 3 4 3
3 3 1 2 2 3 2 1
2 2 3 4
Q

cresc .

le
5

Ped . simile
5
4 3 5 1
3 1
1 1 3

mf

12
15 5

Note: The authenticity of this Valse is questioned .

25502
 78

8
23
t1 4

A4年

民
5 888 23
2

mf P

128
位
3 4
5
5

total
3 4 3 3 5
88 43 3 1 2 1 3
4 2

封 3

Ped . simile

3 I
3 8 2
3.4

cresc .

5 5
3 3 4
1 3
1 1 2 1

25502
 79

3. 5
8132 8

4 3

Ped . simile

5 3
2 138

位 B

MNNA
8
5 2 5 3
3
中

多 21
3

199 Ped . come

sopra

5
5 4 4 5
3. 3 4 3
2 0 1
3
9

5 5 5
5 3 1 3 43
1 2 12
3 4 15

cresc .

挂 8

25502
 80
4 5

nf

88
23
2

P mf

合
日

88 23 3
23 1
第 432

8
业 办 4

15

42
4 3 3 4 3
1 2 2. 1 3 4 15 8

普
#
cresc .

3 5 5
43 5 5
3 2 3 3 4 T
18 2. 13 3
IO

假 4 4
8

( 時
25502
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A548
 292

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