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In the Waltz in D flat major, dedicated to Delfina Potocka, Chopin returned in style, and perhaps in recollection, to the early thirties and the style brillant. In this later variety, however, that dazzling, but insubstantial style acquired new characteristics. Firstly, a succinctness of utterance, wholly alien to its prototype, but not contrary to its ephemeral character. Secondly, the somewhat melancholy tenderness with which the waltz’s trio is expressed – a clear echo of analogous sections from 1830s waltzes. But the coda of the D flat major Waltz, through its terseness, breaks with brillant practice and – as in Heine – acts as a point of culmination.

The well-informed Count Stanisław Tarnowski circulated an anecdote according to which the D flat major Waltz constituted a singular reflection of that external, worldly side of Delfina Potocka’s personality.

Author: Mieczysław Tomaszewski
[Cykl audycji "Fryderyka Chopina Dzieła Wszystkie"]
Polish Radio, program II


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Tatiana Shebanova

Waltz in D flat major, Op. 64 No. 1 Op. 64 No. 1
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