SIXTEEN WALTZES FOR PIANO DUET OR PIANO SOLO, OP. 39
Recordings: Duet:
Silke-Thora Matthies & Christian Köhn [Naxos 8.553139]
Solo: Martin Jones [NI
1788]
Easy Piano: Idil Biret
[Naxos 8.553426]
Two Pianos: Martha
Argerich & Alexandre Rabinovitch [Teldec 4509-92257-2]
Published
1867.
Two-piano versions published posthumously, 1897.
Dedicated to Dr. Eduard Hanslick.
By 1867, all of Brahms’s large-scale piano works,
the sonatas and variation sets, had been composed. In the
realm of solo piano composition, he then confined himself to sets
of shorter works. The set of sixteen waltzes, some of which
contain melodies that are among Brahms’s most well-known, was
among the first of these sets (the Scherzo, Op.
4 is associated with the sonatas, and the Ballades, Op. 10 are also early, falling between
the sonatas and variation sets). The set is also Brahms’s
homage to his newly adopted home of Vienna. The dedicatee,
Eduard Hanslick, was a quintessential Viennese, and he rather
famously noted the glorious incongruity of the “serious” North
German Brahms composing a set of short piano waltzes. They
are not in the large-scale sectional mold of the Chopin piano
waltzes or the orchestral examples of Johann Strauss.
Instead, all sixteen are in simple binary form. In all
except Nos. 3, 10, 13, and 16, the second part is longer (usually
twice as long) as the first part and includes a varied return of
that first part. Only in Nos. 14-16 is there any variation
in the repeats of either part (Part 2 in No. 15, Part 1 in No. 16,
and Part 1 in the duet versions of No. 14). The waltzes
exist in more versions than any other of Brahms’s works.
Originally composed for piano duet (one piano, four hands), Brahms
released a solo version by popular demand. At the same time,
he released a second solo version, simplified for amateur players
in a nod to the pieces’ great popularity (they are still popular
with intermediate piano students). He contemplated a fourth
version for two pianos, four hands, but his publisher
declined. He did arrange five of them (Nos. 1, 2, 11, 14,
and 15) for two pianos, but these excellent versions were only
released posthumously. All versions use the opus number
39. For various reasons, the keys of the last four waltzes
are a half-step lower in the more “difficult” solo version (and in
the two-piano versions of Nos. 14 and 15) than in the duet or
simplified solo versions. The key of No. 6 is also lowered a
half-step in the easy solo version (only) because the original key
is difficult to read.
In the guides below, the original duet version (one piano, four
hands) is used as a base for analysis and description. Primo refers to the higher
part, secondo to
the lower. Each other version of the respective waltz
follows with differences outlined (between duet and solo versions,
then between solo and easy piano versions). The two-piano
versions of the five waltzes for which they were composed also use
the one-piano duet version as a base. The recording of the
main solo version combines Nos. 1-8 and Nos. 9-16 on one
track. The recording of the easy piano version, which is the
only one of which I am aware, contains a glitch where the first
part of No. 9 is on the same track as No. 8. Since all are
in binary form and in 3/4 time, form and meter are not noted for
each waltz. If a tempo marking for a waltz is indicated, it
is given. Otherwise, the “Tempo giusto” of No. 1 can be
presumed.
IMSLP WORK PAGE
ONLINE SCORES FROM IMSLP (First Edition
from Brahms-Institut Lübeck):
Duet
Version (Note that
each primo page follows its
corresponding secondo page.)
Solo
Version
Easy
Solo Version
Two-Piano Version
ONLINE SCORES FROM
IMSLP (From Breitkopf & Härtel Sämtliche Werke):
Duet
Version (Each primo
page follows its corresponding secondo
page.)
Solo
Version
Easy
Solo Version
The Two-Piano Version does not appear in the Sämtliche Werke.
No. 1 in B MAJOR. Tempo giusto.
DUET VERSION
0:00 [m. 1]--Part 1.
The primo plays the joyous and boisterous waltz theme in
octaves, beginning with a rocket-like upbeat. It features
leaps of a sixth and fourth as well as downward-arching running
passages. The secondo keeps the waltz rhythm
grounded with a solid bass and punctuating chords. An
unexpected turn to a minor key (D-sharp minor) comes at the end of
the phrase.
0:08 [m. 1]--Part 1
repeated.
0:16 [m. 9]--Part 2.
The primo quietly and secretively develops the
downward-arching running passages in a contrasting phrase.
It begins back in the home key of B, then turns to E major for its
second, higher sequence over a large swell in volume. The secondo
provides the rhythmic interest and ambiguity. It establishes
a cross-rhythm by grouping three two-beat units inside of two 3/4
bars (each two-beat “unit” consists of a left-hand bass note and a
right-hand chord). The long held notes in the left hand of
the primo work against the cross-rhythm, or “hemiola.”
0:23 [m. 17]--The opening
material returns triumphantly at a higher level, in the continuing
key of E major. While still doubled between the primo
hands, it is now more fully harmonized, with added chords and
notes below the melody. The secondo returns to
unambiguous 3/4 meter and its solid bass with chords. As in
Part 1, there is a key change toward the end of this phrase, but
this time it wonderfully settles back on the home key of B.
0:31 [m. 9]--Part 2
repeated. Reprise of contrasting phrase from 0:16, with an
added upbeat.
0:39 [m. 17]--Reprise of
climactic return of opening from 0:23.
0:50--END OF WALTZ [24 mm.]
SOLO VERSION
NOTE: In this recording, Nos. 1-8 are grouped on a single track,
as are Nos. 9-16.
0:00 [m. 1]--Part 1.
This particular waltz retains most of the duet material in the
solo version. The octaves from the primo, which were
split between the hands, are not only largely retained in the solo
right-hand part, but even add some additional harmonies on the
first beats of bars. This is to help compensate for the left
hand. When transferring the secondo part, it must
omit the chord on the first beat (which was played against a bass
octave), as the hand leaps up to a single chord on the second beat
of each bar.
0:10 [m. 1]--Part 1
repeated.
0:17 [m. 9]--Part 2.
In the secretive contrasting phrase, practically everything from
the duet version is retained. The right hand manages to play
the arching running figures along with the long held notes
underneath them. The left hand retains the cross-rhythm
octaves and chords, making treacherous leaps.
0:25 [m. 17]--The return
of the opening must strip away some of the thicker chords from the
primo when transferring it to one hand. Considering
that the primo was doubled in octaves between the hands,
not very many notes must be removed at all. The left hand
continues its treacherous leaps, which really do seem to be
compensating for the missing hand. The right hand octaves
continue to the end.
0:32 [m. 9]--Part 2
repeated. Reprise of contrasting phrase from 0:17.
0:40 [m. 17]--Reprise of
climactic return of opening from 0:25. One final left hand
echo after the cadence is added to help fill in the harmony.
This “after-beat” was not included in the duet version.
0:50--END OF WALTZ [24 mm.]
EASY PIANO VERSION
0:00 [m. 1]--Part 1.
Most of the octaves are removed from the right hand, so it is only
playing the melody without the doubling in octaves. A few
strategic octaves are retained. In the left hand, the lower
octaves (except the first and last) are removed from the bass
notes to make the leaps to the chords more secure. The
harmony is generally much thinner.
0:07 [m. 1]--Part 1
repeated.
0:14 [m. 9]--Part 2.
Even in this version, most of the contrasting phrase is
retained. The cross-rhythms are preserved in the left hand,
but the chords are sometimes voiced differently to make the leaps
easier. The right hand retains the long notes below the
running figures.
0:21 [m. 17]--The return
of the opening music again strips away many of the octaves from
the melody and the bass, making the leaps easier. The
harmony is filled out where it conveniently can be.
0:28 [m. 9]--Part 2
repeated. Reprise of contrasting phrase from 0:14.
0:35 [m. 17]--Reprise of
climactic return of opening from 0:21. The “after-beat” from
the regular solo version is also included here, although the final
chord is thinner.
0:44--END OF WALTZ [24 mm.]
TWO PIANO VERSION
0:00 [m. 1]--Part 1.
The range of two pianists each having entire keyboards to
themselves greatly expands the possibilities of the duet
texture. The upbeat in the piano part playing the melody
(Piano 1) is expanded to three octaves of doubling. The
right hand plays the octaves alone and the left hand adds rolled
chords that are not present in any other version. The second
piano (Piano 2), can greatly expand on the punctuating chords,
playing them higher on the keyboard and, because of the added
rolled chords in Piano 1, on beats 2 and 3 instead of beats 1 and
2. The left-hand octaves in the secondo are retained
in Piano 2.
0:08 [m. 1]--Part 1
repeated.
0:16 [m. 9]--Part 2.
The contrasting phrase is greatly fleshed out. The
cross-rhythms in Piano 2 add low octaves to the bass notes and
have thicker punctuating chords. Piano 2 even adds a new
descending broken-chord line at the end of each sequence. In
Piano 1, the long notes below the running figures are also
expanded to octaves, and a rising sequence in thirds is added to
the left hand in response to Piano 2’s new broken-chord line.
0:23 [m. 17]--The return
of the opening exploit’s the possibilities of both
keyboards. The right hand of Piano 1 plays the octaves to
the end, with chords, some of the rolled, added to the left hand,
as in Part 1. Again, the punctuating chords in Piano 2,
played by the right hand, are much more full than in the one-piano
duet version, and they again help to fill all the beats with
chords.
0:32 [m. 9]--Part 2
repeated. Reprise of contrasting phrase from 0:16, with an
added upbeat.
0:40 [m. 17]--Reprise of
climactic return of opening from 0:23. The “after-beat” in
the solo versions is not heard here, in common with the main
one-piano duet version.
0:52--END OF WALTZ [24 mm.]
No. 2 in E MAJOR.
DUET VERSION
0:00 [m. 1]--Part 1.
The main rhythm of this waltz remains in force throughout.
The main voice and its harmonization, played in the primo,
consists of a dotted rhythm (long-short), followed by another note
on the third beat of each bar. Often, this third note is the
same as the second (short) note. The accompanying voice,
played in the secondo, adds repeated chords under the
first long note of each primo bar, coming together with
the primo on the third beat. The left hand of the secondo
plays a bass in open two-note harmonies. The waltz is marked
dolce, and is quite
delicate, despite its steady flow. The first part ends with
rising pitches and a half-close, the secondo continuing
its rhythm after the cadence.
0:13 [m. 1]--Part 1
repeated. The end of the first statement merges beautifully
with the repeat’s initial upbeat.
0:24 [m. 9]--Part 2.
The contrasting phrase preserves the pervasive main rhythm after
the upbeat leading in from Part 1. It moves to minor keys,
first the minor variant of the home key, which is E minor, then
the closely related B minor. The left hand of the secondo
reduces the bass line to single notes, sometimes more active and
also broken with rests. The right hand accompanying rhythm
is preserved until the sixth bar, which has a three-chord descent
in straight rhythm. In the last two bars of the phrase, the
right hand of the primo is left alone on a rising octave
to transition back to the main melody.
0:38 [m. 17]--In a very
satisfying return, the opening melody is stated exactly as at the
opening for five bars. On the sixth, it strives higher to
reach a complete cadence in E. Before the cadence, the right
hand of the primo breaks the main rhythm to emphasize the
final upward leap. The right hand of the secondo
again breaks its accompanying rhythm for a straight three-chord
descent.
0:50 [m. 9]--Part 2
repeated. Reprise of the minor-key contrasting phrase from
0:24. The secondo begins its accompanying rhythm
right after the previous cadence.
1:04 [m. 17]--Reprise of
the returning opening melody and its high-reaching cadence from
0:38. Full close with a final echoing after-beat chord in
the secondo.
1:22--END OF WALTZ [24 mm.]
SOLO VERSION
0:51 [m. 1]--Part 1.
Most of the primo is directly transferred to the right
hand, including the lower voice from its left hand, except for
some minor voicing alterations. The left hand also has most
of the secondo material, but the two-note bass harmonies
are rolled to make the jump up to the punctuating accompanying
rhythm more manageable. Some of the thicker chords at the
end of the section in the duet must be thinned.
1:06 [m. 1]--Part 1
repeated. As in the duet, the merge into the upbeat is
highly effective.
1:20 [m. 9]--Part 2.
Again, most of the primo is transferred to the right hand
in the contrasting phrase, but since the duet texture in both
hands is thicker, more of the lower doublings are cut. The
left hand has almost all of the secondo material,
including the three-chord descent. Five of the lowest bass notes
are raised an octave.
1:35 [m. 17]--The return
of the opening still retains most of the duet material except for
a few voicing changes and, at the end, the omission of some of the
lowest primo notes in the right hand. The left hand,
however, replaces the three-chord descent with a large leap from a
bass octave to two higher chords. The transitional chord to
the repeat is also thinner.
1:50 [m. 9]--Part 2
repeated. Reprise of the contrasting phrase from 1:20.
The left hand begins its accompanying rhythm right after the
previous cadence.
2:05 [m. 17]--Reprise of
the returning opening melody and its cadence from 1:35. The
echoing after-beat chord is retained.
2:23--END OF WALTZ [24 mm.]
EASY PIANO VERSION
0:00 [m. 1]--Part 1.
The most important variation is the omission of the low two-note
rolled harmonies in the left hand in favor of single notes an
octave higher to avoid the large jumps to the accompanying
rhythm. The right hand is also much thinner, strategically
removing both inner chord notes and lower octaves.
0:13 [m. 1]--Part 1
repeated.
0:25 [m. 9]--Part 2.
The texture of the right hand is again greatly thinned in the
contrasting phrase, but the left hand actually retains most of the
material. For the three-chord descent, only the essential
harmony is retained and the top voice of the descent is
transferred to the right hand.
0:38 [m. 17]--As at the
opening, the return thins out the right hand and moves the
two-note rolled harmonies up to an octave to single bass
notes. At the end, the leaping octaves in the right hand are
changed to one octave split between the hands. The large
left hand leap that replaces the three-chord descent is made
easier by removing the lower octave from the first bass note.
0:51 [m. 9]--Part 2
repeated. Reprise of the contrasting phrase from 0:25.
The accompanying rhythm begins right after the cadence.
1:05 [m. 17]--Reprise of
the returning opening melody and its cadence from 0:38. The
echoing after-beat chord is still present.
1:21--END OF WALTZ [24 mm.]
TWO PIANO VERSION
0:00 [m. 1]--Part 1.
The additional piano allows both the main rhythm and the
accompanying rhythm to be greatly fleshed out from the one-piano
duet version. In Piano 1, the main rhythm is doubled in the
piano’s middle range by the left hand, and the accompanying rhythm
is brought up to the treble register in Piano 2. The left
hand of Piano 2 adds doubling chords to much of the accompanying
rhythm.
0:16 [m. 1]--Part 1
repeated, with an especially rich transition into the upbeat.
0:31 [m. 9]--Part 2.
At the beginning of the transitional phrase, Piano 1 is the same
as the primo, but at the end, a higher octave is added to
the last upward-reaching bars, including the two-bar transitional
rising octaves. Piano 2 is more adventurous, greatly
fleshing out the secondo and utilizing the higher register
unavailable to that part in the single-piano duet version.
The three-chord descent is presented in its most lush form,
reaching quite high in Piano 2.
0:46 [m. 17]--The return
of the opening is the same as the opening itself until its higher
reaching full close. Again, Piano 1 makes use of the bass
register for the main rhythm and Piano 2 uses the treble register
for the accompanying rhythm. The three-chord descent again
reaches high in Piano 2.
1:02 [m. 9]--Part 2
repeated. Reprise of the contrasting phrase from 0:31.
The accompanying rhythm in Piano 2 begins right after the cadence.
1:18 [m. 17]--Reprise of
the returning opening melody and its cadence from 0:46. The
echoing after-beat chord at the end is thicker than in any other
version, the higher register being available in Piano 2.
1:39--END OF WALTZ [24 mm.]
No. 3 in G-SHARP MINOR.
DUET VERSION
0:00 [m. 1]--Part 1.
The waltz has a quiet, melancholy flavor, with a languid
“long-short-short-short” figure dominating the primo
part. The line is doubled above in octaves. The secondo
breaks its rhythm into bass octaves on the first beats of bars,
and right-hand chords on the other two. The eight-bar phrase
moves toward its related major key (B).
0:12 [m. 1]--Part 1
repeated.
0:23 [m. 9]--Part 2.
The secondo continues with the same pattern, with the bass
octaves reaching quite low in the second half of the phrase and
being added to third beats in all but the second and fourth
bars. In the primo, the right hand plays alone in
the first half. The left hand takes over the melody halfway
through as the waltz strongly turns back to minor, with the right
hand adding high decorative counterpoint before the wistful
cadence. The primo counterpoint line leads into the
repeat.
0:36 [m. 9]--Part 2
repeated. Final cadence cuts off the counterpoint before the
lead-in.
0:53--END OF WALTZ [16 mm.]
SOLO VERSION
2:24 [m. 1]--Part 1.
There are two major differences from the duet version.
First, the left hand, which takes most of the secondo
part, only plays single bass notes on the first beats instead of
octaves. Second, the right hand, taking over the primo,
does not double its line in the high octave.
2:39 [m. 1]--Part 1
repeated.
2:51 [m. 9]--Part 2.
The right hand is the same as the duet primo in the first
half. In the second half, the right hand plays both the
melody and the (slightly altered) high counterpoint, effectively
duplicating both hands of the primo. The left hand
still only has single bass notes, but must combine these with
chords when they are on third beats. The counterpoint again
leads to the repeat.
3:06 [m. 9]--Part 2
repeated. The last chord is actually fuller than in the duet
version.
3:25--END OF WALTZ [16 mm.]
EASY PIANO VERSION
0:00 [m. 1]--Part 1.
Some chords and leaps are slightly simplified.
0:12 [m. 1]--Part 1
repeated.
0:23 [m. 9]--Part 2.
Again, chords are simplified or are indicated to be rolled to
accommodate smaller hands. The counterpoint in the second
half is completely omitted, with only minor harmonies added to the
end of the melody to compensate.
0:36 [m. 9]--Part 2
repeated.
0:52--END OF WALTZ [16 mm.]
No. 4 in E MINOR. Poco sostenuto.
DUET VERSION
0:00 [m. 1]--Part 1.
The waltz is marked forte
and appassionato.
It has the character of the composer’s Hungarian Dances.
Some flexibility of rhythm is appropriate. A turn figure on
an upbeat begins things in the primo. The two hands
harmonize, mostly in sixths. Two more of the turn figures
are heard on upbeats. The secondo plays bass notes
and octaves in the left hand, punctuating offbeat chords in the
right. The music intensifies toward the end of the phrase as
it moves to B minor. The turn figure leads to the repeat.
0:11 [m. 1]--Part 1
repeated. The turn figure is retained to lead to Part 2.
0:22 [m. 9]--Part 2.
In a contrasting phrase, the primo begins playing octaves
in the left hand. These are passed to the right hand while
the left hand starts to harmonize. In the second half of the
phrase, the left hand takes the leading role with the right hand
adding high syncopated responses. The secondo begins
by playing octaves, some of them displaced, between the
hands. In the second half, the left hand plays low octaves
while the right hand joins the primo left hand in the
leading role. The second half intensifies greatly for the
return.
0:32 [m.17]--Varied return
of the opening phrase. Both hands of the primo now
play harmonized sixths at the climactic return. The phrase
is altered, intensified, and lengthened by two bars. It
remains in E minor. The secondo right hand chords
become more numerous, and they play on downbeats in the last four
bars. The upbeat turn figure leads to the repeat.
0:46 [m. 9]--Part 2
repeated. Reprise of contrasting phrase from 0:22.
0:56 [m. 17]--Reprise of
returning altered and intensified phrase from 0:32. Emphatic
closing.
1:13--END OF WALTZ [26 mm.]
SOLO VERSION
3:26 [m. 1]--Part 1.
The harmonies from the primo must now be taken by the
right hand alone. The combining of the bass notes and the
punctuating chords from the secondo leads to some wide
leaps and rolled tenths in the left hand.
3:38 [m. 1]--Part 1
repeated.
3:48 [m. 9]--Part 2.
For the contrasting phrase, the octaves and harmonies from the primo
are combined and slightly simplified in the right hand. The
octaves in the secondo are played by the left hand.
The syncopated responses in the second half of the duet version
are omitted here. Brahms compensates by adding heavy accents
to the melody notes in the right hand.
3:57 [m. 17]--In the
varied return, most of the primo minus some octave
doubling in the harmonized sixths, is transferred to the right
hand. The left hand is given a workout to compensate for the
missing hands, making wide leaps and rolling all the thick chords
in the second half of the phrase.
4:09 [m. 9]--Part 2
repeated. Reprise of contrasting phrase from 3:48.
4:20 [m. 17]--Reprise of
varied opening phrase from 3:57.
4:35--END OF WALTZ [26 mm.]
EASY PIANO VERSION
0:00 [m. 1]--Part 1. The
right hand is mostly unaltered. The left hand is greatly
simplified. The low bass notes are brought up an octave to
avoid the wide leaps. The octave and tenth doublings in some
bas notes are dispensed with. The punctuating chords are
greatly reduced in thickness.
0:10 [m. 1]--Part 1
repeated.
0:20 [m. 9]--Part 2.
The “difficult” solo version simplifies much from the duet version
already in the contrasting phrase, and in the easy version, other
than some minor phrasings and accentuations, both hands are
largely unchanged. In the second half, Brahms does reduce
the octaves in the left hand to single notes, but he gives the
player the option of adding the lower octave.
0:28 [m. 17]--For the
varied return, many of the sixths in the right hand are reduced to
single notes. Some octaves and harmonies in the intensifying
second half are also dispensed with. The left hand bass
notes are brought up an octave and the huge chords are greatly
thinned out. Most are not rolled. The higher bass
notes help the wide leaps to be avoided.
0:40 [m. 9]--Part 2
repeated. Reprise of contrasting phrase from 0:20.
0:48 [m. 17]--Reprise of
varied opening phrase from 0:28.
1:02--END OF WALTZ [26 mm.]
No. 5 in E MAJOR.
Note: This waltz uses the same musical material as the vocal
quartet “Der Gang zum Liebchen,” Op. 31, No. 3, which is in E-flat major,
a half-step lower.
DUET VERSION
0:00 [m. 1]--Part 1.
The waltz is marked dolce
(sweetly). The very
gentle melody begins with an upbeat and features a dotted
(long-short) rhythm at the beginning of each two-bar unit.
It is initially buried in an inner voice, played by the left hand
of the primo. The right hand plays repeated octave
B’s. After two bars, the melody climbs to the top and the
octaves begin to move as an inner voice, with the hands now
doubled an octave apart. This alternation repeats twice more
in two-bar units, with the melody moving again to the lower, then
the upper voice. The secondo plays a very flowing
accompaniment, including chords after the beats in the last four
bars, with a steady, solid bass. The section moves to B
major at the end.
0:16 [m. 1]--Part 1
repeated.
0:32 [m. 9]--Part 2.
The contrasting phrase moves to F-sharp minor, then quickly back
to E, still using the rich harmonies and inner voices. The
dotted rhythms pass between them and obscure which voice is the
“melody.” Accented, resolving “sigh” figures abound.
The secondo continues its flowing accompaniment. After
four bars, the next phrase is an exact repetition of the first
half of Part 1 in the primo, but with a new sustained
pedal-point bass held from the first four bars (on the “dominant”
note B) in the secondo.
0:47 [m. 17]--The closing
passage of Part 2, only six bars long, feels like a long phrase
extension, beginning with a strong key change to A major over mild
accents. The main melody is slightly varied and heard in
that key, again passing from an inner to an outer voice, the hands
doubled an octave apart. The final two bars wrench the music
suddenly back home to E in a harmonized descending line. The
top voice ends on the third of the chord, not the keynote, giving
the close a sense of wistful timelessness. The flowing
accompaniment in the secondo becomes even more active and
the low bass chords somewhat heavier.
1:01 [m. 9]--Part 2
repeated. Restatement of contrasting phrase and return of
opening from 0:32.
1:17 [m. 17]--Restatement
of the six-bar closing passage moving to A major and back from
0:47.
1:35--END OF WALTZ [22 mm.]
SOLO VERSION
4:36 [m. 1]--Part 1.
The octave doubling in the initial primo B’s, as well as
the complete doubling between the hands in the rest of the primo,
is omitted, and the right hand covers everything in one octave
(including some lower octaves in the second half). The top
voice is an octave lower than in the duet version
throughout. The inner voice and the passing of the melody
between the top and the middle is retained. The secondo
is completely altered. The flowing accompaniment is replaced
by a slower left-hand chord accompaniment.
4:52 [m. 1]--Part 1
repeated.
5:08 [m. 9]--Part 2.
In the first four contrasting bars, the entire primo is
able to be retained in the right hand. The return of the
opening adds a lower (not a higher) octave on the repeated B’s
that was not there in Part 1. The left hand continues to
replace the flowing secondo with harmonies that move more
closely with the right hand. The return of the opening also
adds two low B’s to emphasize the sustained pedal point.
5:24 [m. 17]--The six-bar
closing passage reduces the left hand to the heavy bass chords at
the beginning, played an octave higher than in the duet
version. The right hand adds extra octave notes to the
harmony (simulating the complete doubling in the duet version) as
it moves to A major and back. The top voice is again an
octave lower than in the duet version.
5:37 [m. 9]--Part 2
repeated. Restatement of contrasting phrase and return of
opening from 5:08.
5:52 [m. 17]--Restatement
of the six-bar closing passage moving to A major and back from
5:24.
6:09--END OF WALTZ [22 mm.]
EASY PIANO VERSION
0:00 [m. 1]-- The
harmonies in the left hand are somewhat simplified, including the
omission of a top line that doubled the melody in the third and
fourth bars. A lower octave doubling of the top voice in the
last four bars is removed. The bass notes in the last two
bars are an octave higher.
0:12 [m. 1]--Part 1
repeated.
0:24 [m. 9]--Part 2.
In the first contrasting bars, the inner voice is transferred from
the right hand to an octave lower in the left hand, whose pedal
bass (low B’s) is moved up an octave. The return of the
opening dispenses with the lower octave Bs in both hands.
The pedal point is retained at a higher level.
0:37 [m. 17]--The six-bar
closing passage makes the left hand chords less heavy by removing
their top voice. One low bass note in the penultimate bar is
raised an octave. The extra octave notes are removed from
the right hand in the motion to A major.
0:49 [m. 9]--Part 2
repeated. Restatement of contrasting phrase and return of
opening from 0:24.
1:04 [m. 17]--Restatement
of the six-bar closing passage moving to A major and back from
0:37.
1:18--END OF WALTZ [22 mm.]
No. 6 in C-SHARP MAJOR (C MAJOR in easy piano
version). Vivace.
DUET VERSION
0:00 [m. 1]--Part 1.
The key of C-sharp major, with its many black keys, is conducive
to the rapid, light skittering of this waltz, made easier when
played mostly on black keys. There are two four-bar phrases,
each of which uses the same rhythmic structure. For the
first two bars, the secondo imposes cross-rhythms,
implying three 2/4 bars on top of the 3/4 rhythm. The primo,
with its single voice split between the hands, fits into this
pattern. The third and fourth bars revert to clear 3/4 in
both parts, with two voices in the primo and a more
regular grouping of bass and chords in the secondo.
There is a sense of breathless anxiety.
0:06 [m. 1]--Part 1
repeated. At the end, as in the first statement, it turns to
the related A-sharp minor.
0:12 [m. 9]--Part 2.
For the contrasting phrase, the melodic interest, a low, intense
murmuring with many repeated notes, moves down to the secondo.
The primo takes an accompanying role with punctuating
chords. The 3/4 meter is clear. The secondo
retains short, detached bass notes in the left hand. The
phrase is extended for four bars as the murmuring line moves up to
the primo, reaching ever higher, and the secondo
gradually drops out. The phrase moves to E major, an only
obliquely related key.
0:22 [m. 21]--The opening
material returns in a rather abrupt re-establishment of the home
key. The first phrase is the same as in Part 1. The
second phrase changes course, turning briefly to the home minor
key on C-sharp. It still retains the implied 2/4 for its
first two bars. The second phrase is extended by six bars to
move back to major. These new bars add arch-like lines and
rolled chords to the primo to emphasize the closing.
A reiteration of the last gesture serves as a transition to the
repeat.
0:33 [m. 9]--Part 2
repeated. Reprise of contrasting phrase from 0:12.
0:42 [m. 21]--Reprise of
opening material and extension from 0:22. The transition is
replaced by a thumping and emphatic low octave C-sharp in the secondo.
0:56--END OF WALTZ [34 mm.]
SOLO VERSION
6:10 [m. 1]--Part 1.
Most of the material is retained, even most of the low bass
notes from the secondo, which necessitate treacherous
jumps in the left hand at this rapid speed. The
cross-rhythms are also preserved. The right hand must omit
many of the original octaves for the skittering main line from the
primo, but the second voice in the last two bars of each
phrase is retained.
6:16 [m. 1]--Part 1
repeated.
6:23 [m. 9]--Part 2.
In a major change of texture and voicing from the duet version,
the murmuring melody of the contrasting phrase is played by the
right hand. The left hand has not only the original bass
notes of the secondo but also extremely wide jumps to
chords preserving some of the harmony of the primo.
It crosses over the right hand to play these. All of the
murmuring line is retained, including the rapid rise up the
keyboard from the transition to the primo in the
duet. Here, the right hand plays it throughout.
6:32 [m. 21]--The opening
returns, and the first phrase is the same as in Part 1. As
in the duet, the second phrase turns to minor and is
extended. The large leaps in the left hand, the removal of
the octaves of the right, and the retaining of the second voice at
the end of each phrase, are all still present. The extension
removes three rolled chords that the right hand cannot play with
the arch-like lines. The transition, played mostly by the primo
in the duet version, is split between the hands.
6:43 [m. 9]--Part 2
repeated. Reprise of contrasting phrase from 6:23.
6:53 [m. 21]--Reprise of
opening material and extension from 6:32. The transition is
replaced by the emphatic low octave C-sharp in the left hand.
7:08--END OF WALTZ [34 mm.]
EASY PIANO VERSION
This is the only waltz whose key is specifically changed for the
easy piano version. It is the most simplified of all the
waltzes in this version.
0:00 [m. 1]--Part 1.
In addition to removing the octaves, the contour of the skittering
main line is altered in several places to minimize jumps.
The key change removes the many sharps, which are difficult for
beginning pianists to read, replacing them with the white keys of
C major. The other simplifications compensate for the loss
of the more secure grip of the black keys. The second voice
at the end of each phrase is only implied. The left hand
bass notes are moved up an octave to avoid the large jumps, and
the punctuating chords are simplified. The cross-rhythms are
preserved. The related key at the end is A minor rather than
A-sharp minor due to the basic key change.
0:06 [m. 1]--Part 1
repeated.
0:13 [m. 9]--Part 2.
The contrasting phrase is greatly altered. The murmuring
melody is moved up an octave to avoid the hand crossing from the
left hand. The left hand is simplified in two ways--the bass
notes are moved up an octave and the punctuating chords are moved
down. This reduces the jumps by almost two octaves and, in
addition to the higher melody, eliminates the hand crossing.
The extension is altered somewhat since the rise up the keyboard
does not have as far to go. The new key at the end is E-flat
major rather than E major.
0:23 [m. 21]--The opening
returns, and again, the first phrase is the same as in Part
1. The altered second phrase makes a detour to the home
minor key on C. The second voice is heard more clearly at
the end of the second phrase. The extension adds rolled
chords to the left hand for ease of execution.
0:34 [m. 9]--Part 2
repeated. Reprise of contrasting phrase from 0:13.
0:44 [m. 21]--Reprise of
opening material and extension from 0:23. The emphatic low C
at the end has its lower octave from the main solo and duet
versions removed.
0:58--END OF WALTZ [34 mm.]
No. 7 in C-SHARP MINOR. Poco più Andante
DUET VERSION
0:00 [m. 1]--Part 1.
This waltz is slower and contains somewhat more content than the
previous waltzes. While Part 2 is greatly extended, Part 1
is of normal length. The melody has the character of a
minor-key lullaby with several dotted (long-short) rhythms.
The primo plays it in octaves, reaching higher and
higher. The secondo plays a rocking octave bass that
reaches low as the primo reaches high. Two
descending chords in the right hand are heard on the off-beats of
each bar. Smooth transition into the repeat.
0:17 [m. 1]--Part 1
repeated. The last bar is altered to change keys and lead
into Part 2.
0:34 [m. 9]--Part 2.
The lullaby continues in major keys, E major then B major.
The melody in the primo is now harmonized in thirds.
The same pattern of rocking octaves and off-beat chords continues
in the secondo. The rocking bass octaves remain at
the same level, creating a “pedal point.”
0:45 [m. 15]--The lullaby
moves back through another minor key and its related major key,
F-sharp minor and A major. For the last half of this six-bar
phrase, the bass abandons the rocking pattern and moves slowly
upward, sliding toward the new key of A.
0:58 [m. 21]--Transitional
phrase striving upward and reaching toward the main key of
C-sharp. The volume steadily builds. The secondo
resumes its prevailing pattern. The climax arrives with
extended notes and a slow cross rhythm with a chord held across a
bar line. This implies a single 3/2 bar across two notated
3/4 bars. In this implied 3/2 bar, the secondo bass
slides upward. Another chord held across a bar line merges
into a gentle descending arpeggio leading back into the home key
and the waltz rhythm.
1:16 [m. 29]--At the
arrival point, the opening melody of Part 1 is reprised, but
surprisingly, it is not in C-sharp major, not minor. The
result is an incredibly satisfying, warm, and rich six-bar
conclusion. The melody is passed from the primo
right hand to the left, where the last rising gesture is stated
three times with high right-hand octaves before the highly
anticipated cadence is interrupted by the repeat of Part 2.
The secondo retains its rocking octaves and off-beat
chords (which move “out” instead of down in the last three bars)
throughout.
1:30 [m. 9]--Part 2
repeated. Reprise of phrase in E major and B major
harmonized in thirds from 0:34.
1:42 [m. 15]--Reprise of
movement through F-sharp minor and A major from 0:45.
1:55 [m. 21]--Reprise of
transitional phrase and climax with implied 3/2 bar from 0:58.
2:13 [m. 29]--Reprise of
arrival point and major-key version of Part 1 from 1:16.
This time the cadence is not interrupted.
2:31 [m. 35]--The
long-delayed final arrival is confirmed gently but decisively by
two long C-sharp major chords. The waltz, which began as a
minor-key lullaby, ends soothingly in major.
2:41--END OF WALTZ [36 mm.]
SOLO VERSION
7:09 [m. 1]--Part 1.
While the left hand must abandon the rocking octaves, playing only
a low bass note or octave in each bar and leaping to the off-beat
descending chords, the right hand actually expands on the primo,
adding some harmonization in thirds to the lullaby melody.
7:24 [m. 1]--Part 1
repeated with altered last bar leading into Part 2.
7:40 [m. 9]--Part 2.
Movement through the major keys of E and B. The right hand
continues to duplicate both hands of the primo in their
entirety and even adding to them. The left hand continues
its previous pattern, but halfway through this phrase switches to
the rocking octaves and plays only one off-beat chord.
7:50 [m. 15]--Motion
through F-sharp minor to A major. The right hand continues
to duplicate the primo, and the left hand returns to the
leaps between bass notes and chords, replicating the sliding bass
at the end of the phrase while still leaping to the notes played
by the secondo right hand.
8:01 [m. 21]--Transitional
phrase moving to C-sharp. As the music approaches the climax
and the implied 3/2 bar, the right hand must abandon some of the
now thicker primo part, but the left hand more than makes
up for this with its wide leaps between low bass octaves and thick
chords, including a dramatic rolled chord right after the
climactic high chords. Arpeggio leading back to home key and
waltz rhythm.
8:17 [m. 29]--Arrival
point with major-key reprise of Part 1 material. The right
hand manages the entire passage down of the melody, omitting only
the highest level of the bell-like sounds at the end. The
left hand returns to its usual pattern of bass notes leaping to a
pair of off-beat chords. Interrupted cadence as Part 2 is
repeated.
8:30 [m. 9]--Part 2
repeated. Reprise of phrase in E major and B major from
7:40.
8:41 [m. 15]--Reprise of
movement through F-sharp minor and A major from 7:50.
8:52 [m. 21]--Reprise of
transitional phrase and climax with implied 3/2 bar from 8:01.
9:08 [m. 29]--Reprise of
arrival point and major-key version of Part 1 from 8:17. No
interrupted cadence.
9:23 [m. 35]--Two long
C-sharp major chords confirming the delayed cadence. These
are significantly thinner than in the duet version.
9:29--END OF WALTZ [36 mm.]
EASY PIANO VERSION
0:00 [m. 1]--Part 1.
The right hand removes some of the lower octaves, but also some of
the added harmony. The bass notes of the left hand are moved
up an octave and any octave doublings removed
0:11 [m. 1]--Part 1
repeated with altered last bar leading into Part 2.
0:23 [m. 9]--Part 2.
Movement through E and B major. The lower octave is removed
from the right hand chords, and the left hand simplifies the
descending off-beat chords as well as eliminating the octaves at
the end of the phrase.
0:31 [m. 15]--Motion
through F-sharp minor to A major. The right hand continues
its previous pattern. The left-hand bass notes move briefly
to a lower octave to emphasize the sliding motion. The
required leaps, though not as wide as in the “main” solo version,
are unusual for the “easy” version.
0:40 [m. 21]--Transitional
phrase. The motion to the climax is simplified as little as
possible, the right hand almost retaining its original form.
The left hand, however, moves the bass notes two octaves higher at
the implied 3/2 bar so that there will not need to be huge leaps
to the chords vital to the harmony, as there are in the “main”
solo version. The rolled chord is retained. The
transitional arpeggio is reduced to a one octave.
0:53 [m. 29]--Arrival
point with major-key reprise of Part 1 material. This gentle
closing is nearly unaltered except for the bass notes being moved
up an octave, and even the last of these is lowered to the
original pitch to preserve the effect of the interrupted (and
later fulfilled) cadence.
1:03 [m. 9]--Part 2
repeated. Reprise of phrase in E major and B major from
0:23.
1:13 [m. 15]--Reprise of
movement through F-sharp minor and A major from 0:31.
1:23 [m. 21]--Reprise of
transitional phrase with implied 3/2 bar from 0:40.
1:36 [m. 29]--Reprise of
arrival point and major-key version of Part 1 from 0:53. No
interrupted cadence.
1:48 [m. 35]--Two long
C-sharp major chords. They eliminate the lowest octave
C-sharp from the chords in the “main” solo version.
1:54--END OF WALTZ [36 mm.]
No. 8 in B-FLAT MAJOR.
DUET VERSION
0:00 [m. 1]--Part 1.
The three-note upbeat with a leaping octave is
characteristic. The waltz is quite lively, with a persistent
dotted-rhythm pattern similar to that of #2, but much lighter and
with more leaping up and down. This is doubled between the
hands in the primo. The secondo establishes
a steady waltz rhythm with low bass notes and off-beat chords, as
in #7. The patterns down and up are reiterated
somewhat. There is a strong motion to F major at the end,
colored with an important dissonance (D-flat). This motion
is also reiterated, stretching the phrase to an unexpected twelve
bars.
0:12 [m. 1]--Part 1
repeated.
0:24 [m. 13]--Part
2. The same three-note upbeat leads to a contrasting phrase
in the key of D-flat major (a key the previous dissonance at the
end of Part 1 implied). This key, in relation to the main
key of B-flat, has an almost otherworldly feel. The patterns
continue in both parts. This phrase is a more standard eight
bars long, and turns away from D-flat in the last bar. Here,
a melody note is held over a bar line.
0:32 [m. 21]--The final
phrase continues the patterns in both parts and, at ten bars,
finds a medium between the lengths of the other two phrases.
Beginning with another note held over a bar line, it returns to
the home key of B-flat major via E-flat major The final
patterns settle very quietly onto a satisfying cadence. The
steady, persistent pattern in the secondo leads to the
repeat.
0:42 [m. 13]--Part 2
repeated. Reprise of phrase in D-flat major from 0:24.
0:50 [m. 21]--Reprise of
final phrase and motion back to B-flat from 0:32. The secondo
finally closes with a low B-flat after the cadence, having been
moving perpetually in its pattern from the waltz’s beginning.
1:05--END OF WALTZ [30 mm.]
SOLO VERSION
9:30 [m. 1]--Part 1.
The music is marked sotto voce,
which does not appear in the duet version. After the upbeat,
the right hand includes the harmonies of the primo and
only cuts off the lowest doubling of the harmonization from the
original left hand. The secondo is simplified quite
considerably in the left hand to preserve stamina as well as the
character of perpetual motion in the pattern. Rests are
added to the second beat of each bar, and there is only one
off-beat chord in each, on the third beat. Three of these
toward the end are rolled for emphasis.
9:45 [m. 1]--Part 1
repeated.
10:00 [m. 13]--Part
2. The same basic pattern continues for the contrasting
phrase in D-flat. The left hand rolls another chord at the
point where the melody is held over a bar line in preparation for
the final phrase.
10:10 [m. 21]--The
patterns continue for the final phrase returning to B-flat
major. Two more rolled chords follow the second note held
over a bar line in the right hand. Another is heard right
before the final patterns before the cadence. Although the
left hand is substantially simplified from the secondo, it
still retains its forward-driving character and propels the music
into the repeat.
10:23 [m. 13]--Part 2
repeated. Reprise of phrase in D-flat major from 10:00.
10:34 [m. 21]--Reprise of
final phrase and motion back to B-flat from 10:10. The secondo
ends its perpetual motion with a final low B-flat, as in the duet
version.
10:50--END OF WALTZ [30 mm.]
(End of Track)
EASY PIANO VERSION
NOTE: The first part of No. 9 is on the same track as No. 8 (CD
production error)
0:00 [m. 1]--Part 1.
The top melody of the right hand is brought down an octave and the
texture is reduced generally to two notes, a harmonized melody
with no octave doubling. The left hand is not simplified as
much (having already simplified the secondo a great deal),
and even includes some bass notes in the lower octave. The
chords on the third beats are sometimes brought a bit lower,
especially if the bass notes are lower, and the rolled chords at
the end are omitted.
0:14 [m. 1]--Part 1
repeated.
0:30 [m. 13]--Part
2. The pattern with the lower melody is continued for the
contrasting phrase in D-flat. The left hand continues to
play some bass notes in the lower octave, but the chords are still
simplified and the rolled chord at the end is absent. The
melody note at the end is still held over the bar line.
0:40 [m. 21]--In the final
phrase returning to B-flat, the bass notes remain in the higher
octave. The melody continues at the lower pitch after the
second note held over a bar line. One rolled chord before
the final patterns at the cadence is retained. The left hand
leads into the repeat.
0:53 [m. 13]--Part 2
repeated. Reprise of phrase in D-flat major from 0:30.
1:04 [m. 21]--Reprise of
final phrase and motion back to B-flat from 0:40. The final
B-flat is the same as in both other versions.
1:20--END OF WALTZ [30 mm.]
No. 9 in D MINOR.
DUET VERSION
0:00 [m. 1]--Part 1.
The entire waltz is built from downward leaps from weak beats to
strong beats. It therefore logically begins with an
upbeat. In part 1, the primo right hand plays these
descending leaps, whose distances are as small as a fourth and as
large as a narrow (diminished) seventh. The left hand only
joins at the very end of the part for the brief motion to and
half-close in G minor. The secondo establishes a
pattern of a bass note on the first beat of each bar, a right-hand
chord on the second, and a rest on the third. This pattern
is slightly broken at the cadence. The character is quite
melancholy and expressive.
0:14 [m. 1]--Part 1
repeated.
0:29 [m. 9]--Part 2.
The primo now plays the downward leaps in octaves split
between the hands, and they reach much higher. This first
contrasting phrase moves to a major key, E-flat, then back home to
D minor. The secondo continues its pattern in the
first half of the phrase, then adds a second bass note, an octave
above the first, on the third beat of each bar, the octaves being
separated by right-hand chords. There is a slight
intensification at the end of the phrase as it moves back to D
minor.
0:42 [m. 17]--A sudden
return to a very quiet level begins the last phrase (which is not
a return to the Part 1 material, but is entirely new). The
left hand of the primo now echoes the right with the leaps
two octaves lower, the two hands dovetailing each other. In
the right hand, an octave is added below the first “leaping” note,
and in the left, a harmony (a sixth) is added either above or
below the imitating note. The exact imitation is broken in
the second half of the phrase, where unstable harmonies lead to a
very weak half-close. The secondo resumes its Part 1
pattern, without the third-beat notes until the penultimate bar.
0:57 [m. 9]--Part 2
repeated. Reprise of first contrasting phrase with its
intensification from 0:29.
1:11 [m. 17]--Reprise of
closing phrase from 0:42. This time, the second half is
altered, both to preserve the imitation and to change the
harmonies for a more stable close. It is still a half-close,
and this waltz does not reach a full conclusion on a D minor
chord. It merges quite naturally into the next waltz (No.
10).
1:31--END OF WALTZ [24 mm.]
SOLO VERSION
NOTE: In this recording, Nos. 9-16 are grouped on a single track,
as were Nos. 1-8.
0:00 [m. 1]--Part 1.
The primo is transferred exactly to the right hand, which
is natural since almost all of the primo in this part was
only played by one hand. The secondo is also exactly
replicated in the left hand, with the second-beat chord approached
by leap rather than played by the right hand. In the last
bar before the cadence, two low octave doublings are removed.
0:17 [m. 1]--Part 1
repeated.
0:32 [m. 9]--Part 2.
The upper octave heard in the primo is not retained, and
the right hand continues to play in the single octave. The
left hand also does not duplicate the upper octave bass note on
the third beat of each measure heard in the secondo.
The first two second-beat chords are slightly more spread out than
in the duet secondo. Motion to E-flat major and back
to D minor with slight intensification.
0:46 [m. 17]--In the quiet
final phrase, the imitative echoes heard in the primo left
hand are split between the right and left hands. The right
hand and left hand add these echoes to their duplication of the
remainder of the primo and secondo parts. In
these “echoes,” the octaves and sixth harmonies are removed.
The left hand must remove a couple of lower notes from the secondo
chords and bass octaves to accommodate the bottom notes of the
“echoes.” The exact imitation is still broken in the second
half, but the “echoes” are rewritten there to be somewhat more
narrow. Unstable harmonies lead to a half-close.
1:02 [m. 9]--Part 2
repeated. Reprise of first contrasting phrase with its
intensification from 0:32.
1:16 [m. 17]--Reprise of
closing phrase from 0:46. The alteration in the second half
remains close to the duet version, with some of the highest primo
notes removed from the right hand and some of the lowest secondo
notes removed from the left. The final chord in a full
D-minor close is avoided.
1:36--END OF WALTZ [24 mm.]
EASY PIANO VERSION
NOTE: The first part of the waltz is on the same track as #8.
1:21 [m. 1]--Part 1.
The right hand is unchanged. The left hand is simplified,
with the low bass notes raised an octave and some of the
second-beat chords simplified to accommodate this.
1:31 [m. 1]--Part 1
repeated.
1:42 [m. 9]--(Continues
onto the next track after 1:44). Part 2. In this
contrasting phrase, the right hand remains unaltered, and the left
hand continues with the higher bass notes and thinner second-beat
chords. Motion to E-flat major and back to D minor with
slight intensification.
0:08 [m. 17]--In the final
phrase, not much is changed, as the imitative “echoes” must be
retained. Two low bass notes are raised an octave and a
couple of chords under the “echoes” are thinned out.
Unstable harmonies lead to a half-close.
0:20 [m. 9]--Part 2
repeated. Reprise of first contrasting phrase with its
intensification.
0:28 [m. 17]--Reprise of
closing phrase. The alteration in the second half again
simply thins out the left hand somewhat. Full close in D
minor is avoided.
0:44--END OF WALTZ [24 mm.]
No. 10 in G MAJOR.
DUET VERSION
0:00 [m. 1]--Part 1.
The harmony begins on D, the “dominant” of the home key of G, not
settling on G until the end of the phrase. This helps to
transition from the half-close in D minor at the end of No. 9, and
only a very small break between these two waltzes should exist in
performance. The primo plays a scherzo-like running
line in thirds split between the hands. The second half of
the phrase has arching arpeggios with light, detached notes in the
left hand. The secondo establishes a waltz rhythm
with bass notes and off-beat chords, the second half adding a
lower octave leap on the third beats.
0:06 [m. 9]--Part 1
repeated (written out). The last arpeggio in the primo
is somewhat arrested to lead into Part 2.
0:12 [m. 17]--Part
2. Return to the running thirds in the primo, with
some fourths at the beginning and sixths at the cadence.
They move from B major to B minor back to G major for a decorated
incomplete close. The secondo left hand plays
octaves on first and third beats in the first half with right hand
chords on the second beats. The second half returns to the
opening pattern.
0:18 [m. 25]--Part 2
repeated (written out). The final cadence is altered so that
it is complete.
0:26--END OF WALTZ [32 mm.]
SOLO VERSION
1:37 [m. 1]--The entirety
of the primo is transferred to the right hand, which makes
the execution (particularly the thirds) quite difficult at the
quick tempo usually taken. The left hand retains all of the
secondo except for the lower octave leaps in the second
half.
1:44 [m. 1]--Part 1
repeated. It is not written out. Slight arresting of
motion in the last arpeggio to lead into Part 2.
1:51 [m. 9]--Part 2.
All of the primo is retained in the right hand and all of
the secondo is retained in the left except for one
reduction of a second-beat octave to a fourth in the fourth
bar. The right hand adds a rolled chord to the incomplete
close.
1:58 [m. 9]--Part 2
repeated. It is not written out. Change to a complete
close.
2:08--END OF WALTZ [16 mm.]
EASY PIANO VERSION
0:00 [m. 1]--The low bass
notes of the left hand on the first beats are raised an
octave. In the second half, the accompanying notes are
removed from the right hand and partially transferred to the left,
which can handle them because of the higher bass notes.
0:06 [m. 1]--Part 1
repeated. Arresting of motion, as in the other versions.
0:13 [m. 9]--Part 2.
The lower octaves are removed from the left hand. This
allows the left hand to assist the right with the somewhat
difficult sixths at the cadence. The rolled chord is removed
from the incomplete close.
0:21 [m. 9]--Part 2
repeated. Complete close.
0:30--END OF WALTZ [16 mm.]
No. 11 in B MINOR.
DUET VERSION
0:00 [m. 1]--Part 1.
As with No. 4 and No. 14, this waltz has the distinct flavor of
the composer’s Hungarian Dances. Part 1 is, at 16 measures,
the longest opening section in the set. The most distinctive
element is the opening grace note in the primo, which is
heard every two bars. The first two phrases are played in
harmony, usually thirds, between the hands. The second
phrase is set higher than the first and moves to the key of
F-sharp minor. The remaining two phrases have a more static
left hand against a generally descending right hand. The secondo
establishes the waltz rhythm with low downbeat bass notes or
octaves and groups of two off-beat, often repeated chords.
The bass notes march steadily downward in the second half.
Part 1 ends with a full F-sharp minor cadence.
0:13 [m. 1]--Part 1
repeated.
0:27 [m. 17]--Part
2. The contrasting passage is only eight bars. It
begins with the opening grace-note gesture, turns to major, then
spins itself out with a winding phrase over a slight crescendo
that leads back home to B. The primo left hand moves
down chromatically, by half-steps. The bass notes of the secondo
play an alternating octave on F-sharp, creating an anticipatory
“pedal point.”
0:35 [m. 25]--With a
dramatic rolled chord in both parts, the material of Part 1
returns, not in B minor, but in B major, where the waltz will
end. The second phrase seems to want to change keys again,
to C-sharp minor, but the last two phrases, which move very
steadily downward and hold notes across bar lines, firmly
establish the home major key, and Part 2 ends very gently and
sweetly.
0:49 [m. 17]--Part 2
repeated. Reprise of contrasting passage with pedal point
and crescendo from 0:27.
0:57 [m. 25]--Reprise of
major-key return with notes held across bar lines and gentle
closing from 0:35.
1:17--END OF WALTZ [40 mm.]
SOLO VERSION
2:09 [m. 1]--Part 1.
In the first two phrases, the right hand duplicates the primo
exactly, playing the many thirds with one hand. In the
second half, the harmony and voicing is slightly thinned and
re-arranged. The left hand removes some octaves from the
downbeat bass notes of the secondo, lower ones in the
first phrase and upper octaves in the third and fourth phrases.
2:29 [m. 1]--Part 1
repeated.
2:49 [m. 17]--Part
2. Again, the primo is duplicated exactly in the
right hand for the contrasting passage. In the left hand,
the F-sharp “pedal point” is played only on the higher bass note
instead of an alternating octave. The off-beat chords in the
second phrase are rolled, which was not the case in the duet
version.
2:58 [m. 25]--In the
major-key return, the right hand continues to duplicate the primo
exactly until the end. The left hand nearly plays all of the
secondo, including the initial rolled chord. Low
octaves are removed from the first phrase, and the final off-beat
chord is repeated to lead into the reprise of Part 2, which was
not the case in the duet version. Gentle, sweet closing with
notes held across bar lines.
3:17 [m. 17]--Part 2
repeated. Reprise of contrasting passage with pedal point
and crescendo from 2:49.
3:26 [m. 25]--Reprise of
major-key return with notes held across bar lines and gentle
closing from 2:58.
3:49--END OF WALTZ [40 mm.]
EASY PIANO VERSION
0:00 [m. 1]--Part 1.
Other than the very minor alteration of the lower harmonies being
removed from the grace notes and thinner harmonies during the
cadence, the right hand is unaltered. The left hand moves
the bass notes up an octave in the last three phrases and also
thins the harmonies at the cadence.
0:16 [m. 1]--Part 1
repeated.
0:33 [m. 17]--Part
2. In the contrasting passage, lower harmonies are removed
from grace notes, but the right hand is otherwise unaltered.
The left hand raises the F-sharp “pedal” point up an octave in the
second phrase. This brings it up an octave from the duet
version’s higher octave
in the alternation. The off-beat chords in this second
phrase are not rolled, and they are somewhat simplified.
0:40 [m. 25]--In the
major-key return, the opening rolled chord is removed from the
left hand and made less wide (and less awkward) in the
right. The right hand proceeds unaltered except for the
removals of grace-note harmonies until the final cadence, where
lower harmonies are removed. The left hand begins without
altering very much, but at the end of the first half and through
the second half, the bass notes are moved up an octave. The
off-beat chords are also simplified in the second half, and the
final chord is not repeated (following the duet version instead of
the “main” solo version). The notes held across bar lines
through the gentle closing are retained.
0:56 [m. 17]--Part 2
repeated. Reprise of contrasting passage with pedal point
and crescendo from 0:33.
1:04 [m. 25]--Reprise of
major-key return with notes held across bar lines and gentle
closing from 0:40.
1:23--END OF WALTZ [40 mm.]
TWO PIANO VERSION
0:00 [m. 1]--Part 1.
Brahms probably chose this waltz for a two-piano version because
there are relatively few alterations between the duet, solo, and
easy piano versions. The major opportunity here is allowing
both hands to play the entire primo part an octave apart,
which is done by placing a lower-octave doubling of all melody and
harmony notes in the left hand of Piano 1. The opening grace
note is replaced by a sweeping upward run. Piano 2 largely
replicates the secondo, but lower octaves are added to the
second phrase which are not present in any other version.
Some off-beat chords are thicker.
0:15 [m. 1]--Part 1
repeated.
0:31 [m. 17]--Part
2. In the contrasting passage, Piano 1 abandons the exact
lower-octave doubling in the left hand, leaving out the opening
grace-note measures in the first phrase. In the winding
crescendo of the second phrase, the harmonies are thickened and
the top voice is raised an octave. Piano 2 retains the
alternating octave “pedal point” from the secondo, but
also changes a few off-beat chords to voice them slightly higher
in the second phrase. The second phrase also adds yet a
third, higher octave to the pedal-point alteration, placing it on
the third beats of these last four bars.
0:38 [m. 25]--For the
major-key return, the opening rolled chord is very thick.
The lower-octave doubling for the entire melody and harmony
returns to Piano 1 for the first two phrases. In the second
half (the last two phrases), a higher octave doubling is added to
the gentle descending line with notes held across bar lines, and
is retained until the end. The left hand of Piano 1 plays,
surprisingly, the bass, with upper-octave doubling, of not the primo,
but the secondo. Piano 2 plays, in its right hand, the
original left hand of the primo, wonderfully doubled in an
upper octave and adding a descending broken chord to the
cadence. The left hand of Piano 2 plays the off-beat
harmonies heard in the right hand of the secondo, but
matches their rhythm to that of the descending melody, making them
sound richer. Here, Brahms fully exploits the range of two
complete keyboards.
0:53 [m. 17]--Part 2
repeated. Reprise of contrasting passage with pedal point
and crescendo from 0:31.
1:01 [m. 25]--Reprise of
major-key return with notes held across bar lines, gentle closing,
and full exploitation of two complete keyboards from 0:38.
1:21--END OF WALTZ [40 mm.]
No. 12 in E MAJOR.
DUET VERSION
0:00 [m. 1]--Part 1.
This waltz is extremely expressive and warm. The main melody
is based on harmonized descending and ascending two-note figures
beginning on upbeats. These are spun into a melody that
reaches steadily upward, propelled by the upbeats. In the primo,
after the first six bars, as the music moves to B major and
gradually swells in volume, a downward turning figure begins in
the left hand and is imitated up a fourth in the right. This
sequence is repeated a step higher, the lower voice moving to the
middle. The upper voice harmonizes the turn figure, up yet
another fourth, before the very high closing. The secondo
plays three rising octave E’s for each of the first four bars,
then takes over the two-note figures in octaves for the
remainder. The lead-in to the repeat (or to Part 2) descends
and is passed between the primo left hand and the secondo
right hand. Part 1 is 12 bars, two phrases of four and eight
bars.
0:23 [m. 1]--Part 1
repeated. The lead-in suddenly moves to the minor key.
0:45 [m. 13]--Part
2. The contrasting passage consists of two very subdued
phrases. In the first, the two-note figures are heard in a
repeated sequence in E minor, with the secondo playing the
three octave E’s. The second phrase makes an extremely
surprising and exquisite motion to F major, a key that is not
closely related but is only a half-step higher. The secondo
octaves move down to C’s. The top voice of the two-note
figures does not move and is held over the bar line, leaving the
motion to the lower harmonies until a three-note descent ends the
phrase.
1:01 [m. 21]--The final
12-bar passage is similar to Part 1 in structure, but the
harmonies are completely different. The first four-bar
phrase slips back into E major with the harmonized two-note
figures, the secondo octaves moving down still one more
step, to B’s. The final eight-bar phrase initially seems to
change keys again, to A major, only turning back to E at the very
end. The turn figure is passed from left hand to right a
fourth higher, as before, but its continuation does not repeat the
pattern. Instead, the turn figure stays in the top voice,
moving up a fourth before one more statement a step higher moves
to the middle voice. The high, warm, rich, and full closing
occurs over a joyous crescendo. The secondo again
takes the two-note figures in octaves at the same point before
harmonizing in the final cadence.
1:25 [m. 13]--Part 2
repeated. Reprise of subdued contrasting passage in E minor
and F major from 0:45.
1:41 [m. 21]--Reprise of
final passage similar to Part 1 and ending with a joyous cadence
from 1:01.
2:08--END OF WALTZ [32 mm.]
SOLO VERSION
3:50 [m. 1]--Part 1.
This waltz contains the most exact duplications between solo and
duet versions. The entire primo part is transferred
to the right hand and the entire secondo part is
transferred to the left, neither with any alterations. This
requires the right hand to voice the chords and the moving parts
carefully, while the left hand must cover a very wide range for
the three rising octave E’s in each of the first four bars.
4:17 [m. 1]--Part 1
repeated. The lead-in moves to the minor key.
4:43 [m. 13]--Part
2. In the subdued contrasting passage in E minor and F
major, the right and left hands continue to transfer the entire primo
and secondo parts with no changes.
5:01 [m. 21]--For the
final passage similar in structure to Part 1, the right hand again
transfers the entire primo part with no changes. The
left hand continues to duplicate the secondo’s octaves
until the final cadence, where the harmony is thinned out, as the
original cannot be played with one hand.
5:29 [m. 13]--Part 2
repeated. Reprise of subdued contrasting passage in E minor
and F major from 4:43.
5:48 [m. 21]--Reprise of
final passage similar to Part 1 and ending with a joyous cadence
from 5:01.
6:17--END OF WALTZ [32 mm.]
EASY PIANO VERSION
0:00 [m. 1]--Part 1.
Virtually nothing is changed in the right hand other than one
lower held note being split into two repeated notes. This
makes the transfers from duet to solo to easy piano essentially
intact. In the left hand, the lowest octave E is removed in
the first four bars, and the upper two are played on the first two
beats, with a rest on the third beat. The remainder of the
left hand with the two-note figures in octaves is unaltered.
The pianist in the recording plays at an unusually quick speed.
0:14 [m. 1]--Part 1
repeated.
0:30 [m. 13]--Part 2. The
right hand is unaltered in the subdued contrasting phrase in E
minor and F major, and the left hand continues to remove the
lowest octave from the groups of three, leaving a rest on the
third beats of the bars.
0:42 [m. 21]--In the final
passage, the right hand remains mostly unchanged. Three
notes in the lowest voice at the beginning of the second (longer)
phrase are removed. These are transferred to the left hand,
which removes its lowest octave from the first two of the two-note
figures. Before this spot, the lowest of the three octave
B’s is removed in the first phrase. After this spot, the
two-note octave figures are unaltered, as are the harmonies at the
end.
0:57 [m. 13]--Part 2
repeated. Reprise of subdued contrasting passage in E minor
and F major from 0:30.
1:09 [m. 21]--Reprise of
final passage similar to Part 1 and ending with a joyous cadence
from 0:42.
1:24--END OF WALTZ [32 mm.]
No. 13 in C MAJOR (B MAJOR in solo version).
DUET VERSION
0:00 [m. 1]--Part 1.
There are two four-bar phrases, each containing a pair of two-bar
units. The first of these units consists of two forceful,
decorated, upward sweeping gestures in both parts. The
second unit closes the phrase with emphatic, detached chords and
octaves, the secondo moving twice as slowly as the primo
and containing low, punctuating octaves in its left hand.
The second phrase moves higher than the first after the initial
forceful upward gesture, closing in G major with an ornamented
cadence.
0:11 [m. 9]--Part 1
repeated. In the duet version, the repeat is written out.
0:21 [m. 17]--Part
2. Two more four-bar phrases with similar structures to Part
1. The first moves down from G major to E-flat major.
The second continues the downward harmonic pattern, moving from
E-flat to the home key of C major, but the music is set in a
higher register, closing with an emphatic cadence. At the
end of the first phrase, as the music moves to E-flat, the secondo
bass has a distinctive three-note downward leaping descent.
0:32 [m. 25]--Part 2
repeated. In the duet version, the repeat is written out.
0:44--END OF WALTZ [32 mm.]
SOLO VERSION
6:18 [m. 1]--Part 1.
Brahms sets the last four waltzes in keys a half-step lower than
in the duet versions, beginning with this one. The keys of
the solo versions are somewhat more “difficult.” His
reasoning is unclear, but B major is more closely related to the E
major of No. 12 than is C major. The sweeping gestures
actually sound more fully harmonized than in the duet
version. The right hand removes three harmonies from the
emphatic, detached octaves in the first phrase. The left
hand leaps between lower octaves and the detached chords, rolling
one of them at each cadence. The closing key is F-sharp
major.
6:28 [m. 1]--Part 1
repeated, marked with repeat signs. The repeat is not
written out a second time.
6:37 [m. 9]--Part 2.
As in the duet version, the two phrases are very similar to those
of Part 1. The three-note downward leaping descent heard at
the end of the first phrase is removed, as the left hand plays the
chords that are in the secondo right hand at that
point. At the end of the second phrase, the left hand has
wide leaps and rolled chords. The first phrase moves to D
major, the second back to B major.
6:47 [m. 9]--Part 2
repeated. It is not written out, and instead uses repeat
signs, as usual.
6:57--END OF WALTZ [16 mm.]
EASY PIANO VERSION
0:00 [m. 1]--The easy
piano version is set in the C-major key of the duet version.
Other than key, the major changes are the re-arranging and
thinning of some harmonies, including the second rolled chord, and
the transposing upward of the four lowest bass octaves.
0:09 [m. 1]--Part 1
repeated, marked with repeat signs and not written out.
0:19 [m. 9]--Part 2.
Again, the harmonies are thinned and re-arranged. The three
lowest bass octaves are transposed upward. Most of the
changes are to minimize the large leaps in the left hand.
One rolled chord is retained at the cadence.
0:28 [m. 9]--Part 2
repeated, marked with repeat signs and not written out.
0:39--END OF WALTZ [16 mm.]
No. 14 in A MINOR (Duet and Easy Piano Versions) /
G-SHARP MINOR (Solo and Two-Piano Versions)
DUET VERSION
0:00 [m. 1]--Part 1.
With its driving rhythm, grace notes, and strong emphasis of the
second beat of the bar, the piece seems less a waltz than a
Hungarian czárdás.
There are three four-bar phrases moving down in key from A minor
to G minor to F major. The primo is harmonized in
thirds and sixths between the hands in the first phrase. A
third voice joins the harmony for the second and third
phrases. The secondo establishes the driving rhythm
with an arch-like bass pattern and off-beat repeated notes that
only slowly change every three or two bars. The third phrase
emphasizes the second beat with very prominent primo rests
there.
0:11 [m. 13]--Part 1
varied. Brahms varies the first part by placing the full
harmony in both hands and doubling the entire texture up an
octave. For the first phrase, both hands play the third and
sixth harmony. For the second, the left hand takes the lower
two notes and the right hand plays an octave doubling above of the
top note. In the third phrase, the hands are again exactly
doubled at the octave, with the expense of most notes from the
lowest previous voice being left out. The secondo is
unchanged in the varied repeat.
0:22 [m. 25]--Part
2. The contrasting section also consists of three four-bar
phrases. The first begins with a return to A minor with the
same czárdás
character. The music quickly moves to the surprising key of
D-flat. The second phrase hovers on that key in short groups
that build tension. The third phrase moves back to A minor
over a huge crescendo, culminating in a large arching scale in
triplet rhythm that is doubled in octaves and leads back to the
return of the main material. The primo plays in a
two-voice harmony throughout, and the secondo continues
its pattern of a wide arching bass and off-beat repeated
notes. These off-beat notes change to chords with a static
bass in the second phrase. The secondo is somewhat
arrested with punching chords and rests at the climax.
0:34 [m. 37]--Return of
the opening material. It is the same as the varied repeat
from 0:11 until the end of the second phrase, where a very artful
alteration leads the music from G minor back up to the home key of
A minor rather than down to F major. The third phrase is
fully and richly harmonized as it approaches its strong and
unapologetically minor-key close. The secondo
retains its essential character throughout.
0:45 [m. 25]--Part 2
repeated. Reprise of contrasting section from 0:22.
0:57 [m. 37]--Reprise of
varied opening material and fully harmonized conclusion from 0:34.
1:12--END OF WALTZ [48 mm.]
SOLO VERSION
6:58 [m. 1]--Part 1.
As in No. 13, the key is a half-step lower, giving the waltz a
somewhat more ominous color than the duet version since G-sharp
minor has a “darker” character than does A minor. The right
hand retains all of the two-note harmonies of the first phrase and
most of the three-voice harmony from the second and third
phrases. The left hand is very different from the secondo,
reducing the material of necessity. The arching bass and
thumping, slowly-changing repeated notes are combined in a
detached and extremely wide-ranging line with treacherous leaps
that are difficult to execute at this fast tempo. The second
and third phrases move to F-sharp minor and E major.
7:12 [m. 1]--Part 1
repeated. The solo version is simply marked with repeat
signs and is not varied by the upper octave doubling used in the
duet version.
7:26 [m. 13]--Part
2. In the contrasting section, the right hand again
replicates most of the primo’s harmonies and the left hand
continues its wide-ranging line with treacherous leaps. In
the second phrase, this line is supplanted by more static,
oscillating chords. The motion at the end of the first
phrase is to C major. In the third phrase, at the approach
to the climax, the left hand begins to play heavily accented
octaves. The climax is a particularly artful change from the
duet version. The right hand cannot really execute the
octave doubling on the huge arching scale in triplet rhythm, so
compensating for this, it instead plays a much faster, almost
non-metered scale without doubling that reaches down an octave
lower than the top line in the duet version. The left hand
plays a huge rolled chord at the climax.
7:40 [m. 25]--For the
return of the opening material, the first phrase moves up to a
higher octave. The second phrase moves back down, however,
differing from the duet version and reflecting the solo version‘s
lack of a varied Part 1 repeat. The alteration at the end is
similar to the duet version, with the full harmonization of the
last phrase and strong minor-key ending. The left hand again
plays its wide-ranging, treacherous line, adding accented octaves
in the last phrase, with a rolled octave and chord in the last
bar.
7:54 [m. 13]--Part 2
repeated. Reprise of contrasting section from 7:26.
8:08 [m. 25]--Reprise of
varied opening material and fully harmonized conclusion from 7:40.
8:27--END OF WALTZ [36 mm.]
EASY PIANO VERSION
0:00 [m. 1]--Part 1.
The easy piano version is set in the “easier” key of the duet
version, A minor. The right hand uses the two-note harmonies
of the first phrase, but unlike the main solo version, abandons
the three-voice harmony from the second and third phrases,
reducing it to the most essential two voices. The left hand
is greatly simplified, with more repeated notes and a far less
wide-ranging line. If the main solo version preserves the
bass pattern of the duet version, the easy version preserves more
of the thumping repeated notes.
0:14 [m. 1]--Part 1
repeated without variation.
0:28 [m. 13]--Part
2. Up until the climax, the right hand is the same as the
“main” solo version in the contrasting section. The left
hand retains the simplified line with more repeated notes and a
narrower range. The static, oscillating chords in the second
phrase are almost the same, with some leaps down to bass notes
omitted. Approaching the climax, the heavily accented notes
are only in the upper octave. The climax is more complex
than the duet version, but simpler than the “main” solo
version. There is no doubling, and the triplet rhythm is
replaced by faster notes, but they are slower than in the “main”
version and more metered. The motion is to the same low
note, but since the scale gets to the bottom later, it only moves
halfway back up, which means that the return of the opening must
begin in the lower octave. The left hand chord at the climax
is much thinner, and the octave that precedes it is higher.
0:43 [m. 25]--The return
of the opening material is very similar to Part 1 and remains in
the lower octave throughout. The alteration at the end has
much thinner harmonies. The accented left-hand notes in the
third phrase are also higher, without octave doubling, and there
is no rolled chord or octave in the last bar.
0:57 [m. 13]--Part 2
repeated. Reprise of contrasting section from 0:28.
1:12 [m. 25]--Reprise of
varied opening material and harmonized conclusion from 0:43.
1:31--END OF WALTZ [36 mm.]
TWO PIANO VERSION
0:00 [m. 1]--Part 1.
The two-piano version combines elements of all three other
versions and adds still more. The key is the more
“difficult” G-sharp minor of the main solo version. The
right hand of Piano 1 plays essentially the same part as in the
right hand of the main solo version. The left hand of Piano
1, however, plays not the treacherous wide-ranging line, but one
almost directly lifted from the easy
piano version with the emphasis on repeated notes. Piano 2
compensates for this by playing the full arching bass from the
duet secondo in its left hand. The right hand of
Piano 2 is a completely new element, using repeated notes in a
manner similar to the left hand of Piano 1, but in a high treble
register.
0:10 [m. 13]--Part 1
varied. The right hand of Piano 1 moves to the higher
octave, similar to the right hand of the primo in the
duet’s varied repeat. The left hand of Piano 1 now plays the
arching bass, taking over from Piano 2. The right hand of
Piano 2 plays rich a rich harmonization of the main material an
octave lower than the right hand of Piano 1. It is similar
to the left hand of the secondo, but adds more harmonies
and voices. The left hand of Piano 2 takes over the thumping
repeated-note line from Piano 1.
0:21 [m. 25]--Part
2. In the contrasting section, Piano 1 plays what is
essentially an expanded version of the music from the primo
of the duet version and the right hand of the solo versions.
The two voices are expanded to four or even five in some spots,
through doubling in the first phrase and harmonies in contrary
motion thereafter. Piano 2 essentially plays the secondo
from the duet version here, with some chords being expanded,
particularly in the second phrase and at the climax, where they
can reach into the treble range without interfering with the huge
run, which is not true in any other version. Approaching the
climax, Piano 1 plays thicker chords than those of the primo
from the duet version. The climax itself is grander than in
any other version. The scale is replaced by a mixture of
steps and skips, and it reaches down into the bass of Piano 1,
something not possible in the other versions. It arches all
the way up to its origin point.
0:34 [m. 37]--The return
of the opening material rearranges things yet again. Piano 1
is very similar to the duet primo here, but even more
doubling is added since Piano 1 can avail itself of the middle
range. There are five voices in the first phrase and six in
the second. The alteration at the end is very richly
harmonized. Piano 2 is similar to the secondo, but
instead of the right hand playing merely off-beat repeated notes,
they are thumped through the entire bar, often doubled with higher
octaves. In the final phrase with the alteration, the right
hand moves to off-beat chords, as in the secondo, but they
are much more full and reach into the treble register of the
piano.
0:46 [m. 25]--Part 2
repeated. Reprise of contrasting section from 0:21.
0:59 [m. 37]--Reprise of
varied opening and fully harmonized conclusion from 0:34.
The last bar is altered, replacing the final downward motion in
dotted rhythm with a large chord utilizing the full range of both
pianos. This is the only version in which the ending is
changed for the repeat.
1:15--END OF WALTZ [48 mm.]
No. 15 in A MAJOR (Duet and Easy Piano Versions) /
A-FLAT MAJOR (Solo and Two-Piano Versions)
DUET VERSION
0:00 [m. 1]--Part 1.
The melody of this most famous waltz is presented by the primo
in harmony. The basic rhythm is a long note followed by
three short ones. The long note typically leaps down to two
repeated shorter notes. The third short note will be an
upward leap, usually back to the first long note or a close
neighbor. There are also bars in “straight” rhythm, often
with a distinctive decoration. The melody of Part 1 ends on
a half-close. The secondo establishes the waltz
rhythm with low bass notes on the downbeats and chords (often
inversions of the same chord) on second and third beats. The
first four bars have a “pedal point” bass note on A. The
second half is more active, with bass octaves on both the first
and third beats.
0:17 [m. 1]--Part 1
repeated.
0:32 [m. 9]--Part 2.
A different lead-in from the one moving to the repeat takes us to
the brief six-bar contrasting phrase. This phrase
intensifies, moving steadily upward, and using the basic rhythm
except for the last bar, which settles into the reprise. The
secondo retains its basic pattern, but the low bass notes
on the first and third beats now leap up an octave between them.
0:46 [m. 15]--The reprise
of the opening material is the same as Part 1 except for the last
two bars, which are changed to create an extremely satisfying full
cadence in the home key.
1:03 [m. 23]--Varied
repeat of Part 2. The contrasting phrase from 0:32 [m. 9] is
written out, but unchanged except for a slight alteration of the
lead-in.
1:18 [m. 29]--The final
return of the opening material is given an extremely effective
alteration. The harmony and melody retain their character,
but the basic rhythm is replaced by flowing triplets that soar
upward in sonorous sixths. These triplets propel the melody
an octave higher, where the full cadence in A major ends the
waltz. The secondo is unchanged from 0:46 [m. 15].
1:46--END OF WALTZ [36 mm.]
SOLO VERSION
8:28 [m. 1]--Part 1.
The key of A-flat major lends the waltz a somewhat “warmer”
character than the A major of the duet version, perhaps a bit less
bright. Other than the key change, virtually all of the
highly harmonized primo is transferred to the right
hand. The secondo is somewhat altered in the left
hand. The off-beat chords are rolled and actually more full
than in the duet version. The pedal A (now A-flat) in the
first four bars alternates between higher and lower octaves.
The lower octaves must be removed from the bass notes in the
second half. The rolled chords incorporate the bass notes on
the third beats of bars.
8:44 [m. 1]--Part 1
repeated.
9:00 [m. 9]--Part 2.
In the contrasting phrase, the entirety of the richly harmonized primo
continues to be played by the right hand, which must grasp wide
chords with as many as five notes. The left hand also
retains most of the secondo, and only half of the lower
octaves are removed from the bass notes. The leaping octaves
are obscured, however. The off-beat chords are not rolled in
this phrase.
9:13 [m. 15]--The return
of the opening is the same as Part 1 until the last two
bars. Some of the harmonies at the cadence are very slightly
different from the duet version.
9:28 [m. 23]--Part 2
varied. Except for the lead-in, the contrasting phrase from
9:00 [m. 9] is written out, but unaltered.
9:40 [m. 29]--In the
varied return of the opening, the left hand is very slightly
altered from 9:13 [m. 15], unlike the secondo in the duet
version. The chords are mostly no longer rolled, and some
top notes are removed to accommodate the lower reaches of the
right hand. The right hand alone takes the flowing sixths in
triplet rhythm, which is quite awkward in comparison to the primo,
where they were split between the hands. This necessitates
the removal of some of the lower harmony in the two punctuating
“straight” bars (the fourth and seventh bars of the phrase) which
were played by the primo left hand under the high reaches
of the triplets. The melody still reaches an octave higher
than before, as in the duet version.
9:58--END OF WALTZ [36 mm.]
EASY PIANO VERSION
0:00 [m. 1]--Part 1.
The key is the A major of the duet version. The harmonies
are thinner in both the right and left hands. Both play only
two simultaneous notes throughout, whereas in the “main” solo
version, both hands often played three-note chords. All of
the bass notes are raised an octave except for the first and
third, which had been played as high alternations in the solo
version. Despite being only two notes, most of the left hand
chords are still rolled.
0:14 [m. 1]--Part 1
repeated.
0:27 [m. 9]--Part 2.
In the contrasting phrase, the harmonies are again simplified in
both hands. The right hand is restricted to three-note
chords (with one four-note chord) where the solo version had often
required right-hand chords with as many as five notes. The
left hand chords are restricted mostly to two notes with three
three-note chords in the penultimate and final measures. All
of the lower octaves are removed instead of only half.
0:39 [m. 15]--The return
of the opening is the same as Part 1 until the last two
bars. The full cadence is created as in the other versions,
but the right-hand chords are still restricted to two notes, even
the final chord, and the bass notes are still raised an octave.
0:52 [m. 23]--Part 2
varied. Other than the left hand of the lead-in, which is
lower and harmonized differently, the contrasting phrase from 0:27
[m. 9] is written out, but unaltered.
1:04 [m. 29]--In the
varied return of the opening, Brahms allows the left hand to
reclaim some of what was lost from the main solo version.
Some lower bass notes not heard in Part 1 or at 0:39 [m. 15] are
played, and three-note chords with lower bottom notes are heard in
the third and fourth bars from the end. The right hand
greatly simplifies the awkward sixths of the flowing triplet
rhythm, reducing them to fourths, thirds, or single notes.
The sixths are played in the first “straight” bar (the fourth of
the phrase), which had full chords in the solo version, and the
penultimate bar (the other “straight” bar) remains simplified from
its presentation in the “main” solo version. The melody
still reaches an octave higher than before.
1:25--END OF WALTZ [36 mm.]
TWO PIANO VERSION
0:00 [m. 1]--Part 1.
The key is A-flat major, as in the main solo version. Brahms
essentially redistributes material and adds new elements, as in
the other two-piano versions. The right hand of Piano 1 is
the same as the right hand of the solo version. The left
hand of Piano 1 plays the downbeat bass, with the full lower
octaves heard in the duet version. After the first four
bars, the bass is also played on third beats. Piano 2 takes
the off-beat chords, which are now spread across both hands and
reach into the piano’s treble register, something not possible in
the other versions. They are rolled, and contain six, five,
or even seven notes.
0:18 [m. 1]--Part 1
repeated.
0:35 [m. 9]--Part 2.
In the contrasting phrase, the right hand of Piano 1 continues to
play the right hand part from the solo version. The left
hand of Piano 1 plays the bass notes on the first and third beats,
as in the duet version. The leaping octave is
retained. Piano 2 continues to play chords with six or seven
notes split between the hands and often rolled, reaching even
higher into the piano’s treble register.
0:50 [m. 15]--The return
of the opening is the same as Part 1 except for the cadence in the
last two bars. The basic pattern is retained there, with the
right hand of Piano 1 playing the same part as the right hand of
the solo version.
1:07 [m. 23]--Part 2
varied. The contrasting phrase from 0:35 [m. 9] is written
out, but unaltered, other than a slightly different lead-in with
the voicing of the Piano 2 chords.
1:24 [m. 29]--Piano 1 now
emulates the duet version instead of the solo version. The
flowing triplet sixths in the varied return of the opening are now
split between the hands, and the bars in “straight” rhythm are
given full harmony in the left hand. Piano 2 must now take
the bass notes in its left hand, including the lower octave.
The left hand leaps to participate in the off-beat chords, which
are mostly rolled and still reach into the treble register, but
now contain no more than five notes. The right hand alone
takes the chords in the last four bars, where the left hand also
plays bass notes on the third beats.
1:55--END OF WALTZ [36 mm.]
END OF TWO PIANO SET
No. 16 in D
MINOR (C-SHARP MINOR in solo version).
DUET VERSION
0:00 [m. 1]--Part 1.
There are two main melodies in counterpoint. Both are
melancholy, and the whole waltz is a kind of “valse triste,” a
strangely subdued note on which to end the set. The first
melody is more active and conjunct, moving entirely in
steps. It is heard in octaves from the primo.
The second melody is played by the right hand of the secondo.
It
has
fewer short notes and contains several wide leaps. Both
melodies feature dotted rhythms (long notes followed by shorter
ones), the more active one following the long note with three
equal short ones (like the similar main rhythm of #15). The
melodies come together rhythmically at the end as the first part
moves toward the related major key of F. The left hand of
the secondo plays supporting, wide-ranging broken chords
with very detached notes throughout the waltz.
0:17 [m. 9]--Varied repeat
of Part 1. For the only time in the waltzes, Brahms uses invertible counterpoint, the
process of placing two melodies against each other and then
reversing their top-to-bottom placement in a second
statement. The melody with longer notes and more jumps now
moves to the primo and makes a play for prominence, being
played not in two, but in three octaves and reaching much
higher. The melody with shorter notes and no leaps moves to
the right hand of the secondo. The melodies are thus
reversed in their placement. The detached broken-chord
accompaniment in the secondo left hand is unchanged.
0:32 [m. 17]--In the
second part, the two melodies come closer together by adopting
aspects of each other. The melody with shorter notes moves
back to the primo, but adds about four skips to its
otherwise entirely stepwise motion. Again, it is doubled in
octaves. The slower melody with more leaps moves back to the
right hand of the secondo in only one octave, but it also
includes the three short notes following one long note (in two
places) that were typical of the other melody. Part 2 moves
gradually from F major back to D minor, and the slower, leaping
melody is given more harmony at the end. The left hand of
the secondo plays the detached, wide-ranging broken chords
to the end.
0:50 [m. 17]--Part 2
repeated without inverting the melodies. Slowing as the
final cadence is approached.
1:26 (including run-off
time)--END OF WALTZ [24 mm.]
END OF DUET SET
SOLO VERSION
9:59 [m. 1]--Part 1.
In keeping with the keys of the previous waltzes in this version,
the waltz is a half-step lower, in C-sharp minor, creating a
connection to No. 7 in that key, which is somewhat similar, if
less overtly tragic, in character. The melodies are placed
as in the duet version, but the right hand plays both of them, so
the upper octave of the faster melody is eliminated. The
left hand duplicates the secondo left hand. The
music moves to the related major key of E.
10:17 [m. 9]--Varied
repeat of Part 1. The parts are inverted, as in the duet
version, but the right hand now only plays the skipping, slower
melody--in octaves, preserving the prominence of the duet version
at this point, but removing the highest of the three
octaves. The faster, stepwise melody is played by the left
hand, which must abandon the detached and constant broken chords,
supporting the faster melody with rolled chords on the first and
third beats of each bar.
10:32 [m. 17]--The faster
melody returns to the right hand, but it is now in octaves, as in
the duet version. The slower, leaping melody moves back to
the left hand, which continues the pattern of rolled chords on the
first and third beats to support the melody, as it had with the
faster melody in the varied repeat of Part 1. The rhythm
must be altered, however, specifically in those spots with three
short notes following one long note, which are now two long notes
followed by two shorter notes. Some aspects of the detached
broken chords return, such as occasional harmonies under the
second beat of the bar. Motion from E major back to C-sharp
minor.
10:50 [m. 17]--Part 2
repeated without inverting the melodies. Slowing as the
final cadence is approached.
11:27 (including run-off
time)--END OF WALTZ [24 mm.]
END OF SOLO SET
EASY PIANO VERSION
0:00 [m. 1]--Part 1.
The key is the D minor of the duet version. The main other
alteration from the solo version is in the left hand, where the
detached broken chords are re-arranged to change direction more
often and avoid the lowest notes. This also facilitates the
simplification of the right hand, which still mostly plays both
melodies, but passes the lowest notes of the leaping, slower
melody to the left hand. The left hand can play these notes
with its simplified, generally higher detached broken chord line.
0:14 [m. 9]--Varied repeat
of Part 1. The right hand only plays the slower, leaping
melody in one octave, cutting the lower one. The left hand
retains the rolled chord support of the faster, stepwise melody,
with some minor simplifications toward the end.
0:27 [m. 17]--Part
2. In a very artful simplification, both melodies are played
by the right hand with the upper octave cut from the faster,
stepwise melody. The left hand now plays the detached,
wide-ranging broken chords, generally up an octave from those in
the duet version, but preserving most of the large leaps.
The easy piano version thus preserves most elements from both
other versions through selective re-arranging and deployment, and
is therefore perhaps the finest of these simplifications.
0:40 [m. 17]--Part 2
repeated without inverting the melodies. Slowing as the
final cadence is approached.
1:10 (including run-off
time)--END OF WALTZ [24 mm.]
END OF EASY PIANO SET
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