Racing the Clock with Chopin's Waltz in D-flat major, Op. 64 No. 1 "Minute Waltz"
The Best Moments
Waltz in D-flat major, Op. 64 No. 1
I'm Fryderyk Chopin, and this is the best moments of my Waltz in D-flat major, Op. 64 No. 1 "Minute Waltz". You'll hear how a tune that races along in the opening gives way to a broad, singing melody in the middle, and why that contrast makes the waltz so much more than a quick showpiece. My fellow composers and I also teach you, here on this site, to recognize our pieces the moment you hear them, so why not give the Trainer a go and see how well it works for you?
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The Dog Is Not a Witness
I open the waltz with a quick whirl of notes marked molto vivace, which just means very lively, and the pianist is asked to keep it leggero, or light. The story goes that a small dog chasing its tail gave me the idea, but nobody has ever proved it, and the dog has never confirmed it either.
A Short Rest for Everyone
I slow things down in the middle, where the marking is sostenuto, and a long, warm melody finally gets room to breathe. After all that spinning, it feels like the dog has lain down for a nap, and the pianist gets a moment to catch their breath too.
Please Put Away the Stopwatch
I bring the opening tune back at the end, so the waltz goes around once more and finishes right where it started, which is all that a simple ternary form really means. Many people think it must take exactly one minute, but that nickname came from my publisher and only suggests a miniature waltz, and a typical performance lasts about a minute and a half to two and a half minutes.
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Now that the last notes have faded, I find myself thinking how much music fits into such a small space. Did you enjoy learning about the best moments of Waltz in D-flat major, Op. 64 No. 1 "Minute Waltz"? I hope it made you want to hear the piece again, perhaps a little more slowly this time. There is still plenty left to explore in Waltz in D-flat major, Op. 64 No. 1 "Minute Waltz". I dedicated it to Countess Delfina Potocka, and you could look into what she meant to me. The waltz that follows it in the set, in C-sharp minor, has a very different mood and is well worth a listen. Over the years other musicians have taken the tune in new directions, and Barbra Streisand even recorded a vocal version in 1966. If you're curious, click on the links on this page to keep exploring. Thank you for spending these few minutes with me, and I hope the music stays with you.
Recording: Olga Gurevich, Public domain