No. 13, Op. 70-3, D-flat Major

This waltz fully exhibits Chopin's inherent strong polyphonic elements. The crucial point of this waltz is balance. How this balance is achieved makes a world of difference in the performance. This balance, however, does not refer to the balance between the left and right hands, but rather to the issue of the right hand, which is already written in two voices.

Let's examine it from the beginning. From measures 1-4, in addition to the melody line in the upper voice of the right hand, an inner voice enters. This inner voice must be played with fingers 1 or 2, and the strong finger 1 tends to produce a louder sound, so care must be taken in this regard. A performance where the inner and outer voices are clearly distinguishable is desirable. For example, the initial melody in the upper voice of measure 1 is an F half note, which is tied on the third beat and moves to G-flat on the upbeat. At this point, the F is sustained, and you should continue to listen for this F. In other words, even when the lower voice enters, play the inner voice at a volume that does not obscure the sustained F, thereby maintaining balance. Consequently, the lower voice should be played as softly as possible (pp).

Learners should note that this inner voice has no rests (or pauses) whatsoever from measures 1-4 and must be connected with fingers or pedal. A common occurrence is that when changing measures, finger 1 of the right hand cuts off the note tied from the previous measure. When playing the first beat of each measure, ensure that the note sustained from the third beat of the previous measure is still audible. This is extremely important.

From measure 17, it becomes the A2 section. The mood in measures 17-18 and 19-20 is completely different, so differentiate them. In measures 21-23, there are truly challenging chords, so it is acceptable to play them loudly here. Sing them fully. Now, in this section too, play the inner voice as softly as possible (pp). In other words, bring out the top voice.

From measure 33, the B section begins. In this section (measures 33-49), the upper voice of the right hand carries the melody, the lower voice forms an accompaniment, and the left hand has another melody that also serves as the bass. Consider this section as a duet. Since there is a repeat, play the second time differently from the first. For example, for the first time, clearly bring out the upper voice of the right hand, and for the second time, clearly bring out the left-hand melody, creating such a distinction.

Measure 40 is the first goal. It is a place where you may play the trill longer and slightly slow down. The second goal is measure 48.

From measure 55, it is B2. In this section too, clearly bring out the top voice. Also, since there is a repeat, do something different for the second time compared to the first.

The third piece, in D-flat major, is believed to have been composed in 1829. It is a Moderato in ternary form. Although not dedicated, it is said to have been composed with Konstancja Gładkowska, a vocal student whom he met during his student days at the Warsaw Conservatory, in mind. The right hand consists of two voices, and it is important to differentiate these two lines during performance.