Score Publication Information

• Paderewski Edition: No. 5
• Ekier Edition: No. 5
• Cortot Edition: No. 5
• Henle Edition: No. 5
• Peters Edition (Urtext): No. 5

Composed in 1840, a year that can be considered Chopin's mature period. Having already distanced himself from public concerts, Chopin frequently engaged in publication negotiations around 1840, particularly with Breitkopf & Härtel in Leipzig. On December 14, 1839, he negotiated to sell "one grand sonata, one scherzo, one ballade, two polonaises, four mazurkas, two nocturnes, and one impromptu" for 500 francs per piece. Indeed, Chopin's creative drive from 1839 to 1840 was extraordinary. The completion and publication of the long-desired 24 Preludes by Breitkopf might have given him great confidence. The Waltz in A-flat major (Op. 42) was included and published as one piece in a collection by Pacini in Paris in June 1840, but Chopin sent these proofs to Breitkopf, urging its publication (June 18, 1840).

Behind the shift in his activities from public appearances in Paris to music publication in Germany, there was likely a change in Chopin's own state of mind. The category of "salon music" began to be recognized in France from the mid-1830s, and Chopin's waltzes were considered a prime example of it. Proof of this is that French publishers, seeking "brilliance," published his works with the modifier "brillante" (Op. 18, Op. 34), which Chopin did not intend. However, as Schumann stated, salon music in Germany had traditionally been merely an accompaniment to conversation. By criticizing this Chopin Waltz (Op. 42) as "the noblest kind of salon piece," he, conversely, elevated the status of salon music.

The Waltz theme A, which begins after an 8-bar introduction featuring a trill, has its melodic part, played by the right hand, written in two voices. The outer voice plays an elegant melody with a duple meter feel, while the inner voice skillfully uses chromatic intervals to create an ambiguous sense of tonality. The second theme B, appearing from measure 41, consists of arpeggiated runs and is repeated four times, interspersed with various episodes. Afterward, theme A reappears, leading into the coda with a 3-bar preparation. This lengthy coda is constructed by developing the episodes that appeared previously and motives from theme A, centered around theme B. The polyphonic texture of theme A, the rhythmic displacement between duple and triple meters, the unique harmonies created by chromatic intervals, and the developmental techniques of motives seen in the coda section fully demonstrate Chopin's masterful technique, supporting Schumann's assertion that the waltz is not merely an ornamental piece.