Phone
Tablet - Portrait
Tablet - Landscape
Desktop
Toggle navigation
Performers
Steinway Performers
Albright, Charlie
Anderson, Greg
Arishima, Miyako
Benoit, David
Biegel, Jeffrey
Birnbaum, Adam
Braid, David
Brown, Deondra
Brown, Desirae
Brown, Gregory
Brown, Melody
Brown, Ryan
Caine, Uri
Chen, Sean
Chulochnikova, Tatiana
Deveau, David
Farkas, Gabor
Feinberg, Alan
Fung, David
Gagne, Chantale
Golan, Jeanne
Goodyear, Stewart
Graybil, Matthew
Gryaznov, Vyacheslav
Gugnin, Andrey
Han, Anna
Han, Yoonie
Iturrioz, Antonio
Khristenko, Stanislav
Kim, Daniel
Li, Zhenni
Lin, Jenny
Lo Bianco, Moira
Lu, Shen
Mahan, Katie
Mao, Weihui
Melemed, Mackenzie
Min, Klara
Mndoyants, Nikita
Moutouzkine, Alexandre
Mulligan, Simon
Myer, Spencer
O'Conor, John
O'Riley, Christopher
Osterkamp, Leann
Paremski, Natasha
Perez, Vanessa
Petersen, Drew
Polk, Joanne
Pompa-Baldi, Antonio
Rangell, Andrew
Roe, Elizabeth Joy
Rose, Earl
Russo, Sandro
Schepkin, Sergei
Scherbakov, Konstantin
Shin, ChangYong
Tak, Young-Ah
Ziegler, Pablo
Facebook
Twitter
Instagram
Back 1 step
Frédéric Chopin
Frédéric Chopin
Waltz for Piano in A flat major, B 131/Op. 42 "Grande Valse"
Interpretations
About This Work
Performers
Refine by: Performers
All
Mulligan, Simon
Shin, ChangYong
Labels
Labels
All
Steinway & Sons
Controls
Cover
Artists
Label
Movements
ChangYong Shin
Steinway & Sons / 30115
Simon Mulligan
Steinway & Sons / 30170
×
Add To Playlist
Success
This selection has been added.
Playlist
Create
Cancel
Confirm
Cancel
About This Work
Frédéric Chopin's Valse in A-flat major, Op.42, is one of several of his works in the form that seem to actually be intended, to at least some degree, for use in the ballroom (as opposed to the many which are more properly dance-poems not intended for human feet). This aristocratic work, published in 1840 (also the year during which it was most likely composed), is considered by many to be the finest of Chopin's many waltzes (the consummate craftsmanship and noble tone of the work compelled Robert Schumann to declare that if it is to be danced by mortal men and women, "half the ladies should be countesses at least").
An eight-bar introductory trill on the dominant calls the dancers, be they real or imagined, to their stations. The opening melody of the work is a lilting theme in duple time (striking in its constant, good- natured conflict with the underlying three-four meter and left-hand accompaniment), while a recurrent passage in far-flung eighth-notes and two melodies of less rhythmic activity (one, marked sostenuto, of greater duration and harmonic variety than the other) round off this colorful, well-balanced work. The traditional accelerando/crescendo is used in conclusion.
×
Add To Playlist
Success
This selection has been added.
Playlist
Create
Cancel
Confirm
Cancel
BC945D3242086EE97067FF7B481086A6