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[Masterpieces of the Waltz] A comprehensive introduction to classic works written for the piano!

[Masterpieces of the Waltz] A comprehensive introduction to classic works written for the piano!
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The waltz: a steady dance in triple meter.

Among classical works, there are countless waltzes written for solo piano, solo violin, and orchestra.

In this article, we’re highlighting waltzes composed specifically for solo piano!

Focusing on pieces written from the 19th century onward—the so-called “century of the waltz”—we’ll introduce a wide range, from standard repertoire to hidden gems.

Even within the framework of 3/4 time, the character and atmosphere vary widely.

Please enjoy listening as you savor the unique charm of each waltz.

Masterpieces of the Waltz: A Grand Introduction to Classical Works Written for Piano (Nos. 1–10)

Waltz in E-flat major, Op. 18 “Grande valse brillante”Frederic Chopin

It is one of the most well-known waltzes composed by Frédéric Chopin, the Polish composer hailed as the “poet of the piano.” When Chopin came to Vienna from Warsaw, the waltz was in vogue there.

This piece was written after his visit to Vienna and is considered the work most influenced by the Viennese waltz.

It features a characteristically light, waltz-like rhythm and a brilliant melody, making it a very approachable piece.

Scherzo-ValseEmmanuel Chabrier

Chabrier / Scherzo-Valse (E. Chabrier / Scherzo-Valse)
Scherzo-ValseEmmanuel Chabrier

Emmanuel Chabrier is one of the leading French composers of the 19th century.

Although he spent most of his life as a civil servant, he published operas and orchestral works and established a distinctive musical style.

The piano piece “Scherzo-Valse,” included in the collection Pièces pittoresques, is brimming with Chabrier’s characteristic chic atmosphere and humor.

The combination of the leaping rhythms typical of a scherzo and the waltz’s distinctive triple meter creates unpredictable developments that delight listeners.

If you are going to take on this technically demanding piece, it is important not only to focus on the details but also to grasp Chabrier’s intentions.

It can be called a masterpiece with a mysterious charm, rich in a variety of expressions.

Waltz No. 9 in A-flat major, Op. 69 No. 1 “Farewell”Frederic Chopin

Waltz No. 9 “Farewell” (Chopin) – Chopin: Waltz in A-flat major, Op. 69 No. 1 “L’adieu” – pianomaedaful
Waltz No. 9 in A-flat major, Op. 69 No. 1 “Farewell”Frederic Chopin

Frédéric Chopin’s Waltz No.

9 in A-flat major, Op.

69, No.

1 “Farewell,” is a masterpiece imbued with feelings for a former lover.

Composed in 1835 as Chopin was leaving Dresden, it was published posthumously in 1853 by his friend Julian Fontana.

The piece begins lento and adopts a rondo form, featuring a poignant melody and the distinctive rhythm of the mazurka, evoking Polish folk color.

Interweaving joyful memories with present loneliness, it is a work that allows listeners to experience a wide range of emotions.

A noble and sentimental waltzMaurice Ravel

Krystian Zimerman plays Valses Nobles et Sentimentales (Maurice Ravel) – Complete
A noble and sentimental waltzMaurice Ravel

Maurice Ravel was a French composer of Swiss-Basque descent.

A leading figure of Impressionism, his music is marked by artisanal precision and formal perfection.

Composed in 1911 as a suite for piano, Valses nobles et sentimentales was named as an homage to Schubert’s Valses nobles and Valses sentimentales.

Consisting of eight waltzes and an epilogue, the work is distinguished by sonorities that depart from traditional tonality.

In particular, the fifth waltz expresses deep inner emotions through delicate chromatic shifts, and Ravel himself pointed to the seventh waltz as a distinctive number.

Freely moving between atonality and tonality while displaying a wide range of musical expression, this work can be seen as emblematic of Ravel’s musical explorations.

Sentimental Waltz, D 779 Op. 50 No. 13Franz Schubert

Franz Schubert’s Sentimental Waltz, D 779, Op.

50 No.

13, is a piano piece whose relaxed tempo and graceful melody create a pleasant impression.

Published in 1825, it is said to have been regarded as one of Schubert’s popular works since its composition in 1823.

The charm of this piece lies in how, while grounded in the waltz’s fundamental triple meter, the performer can freely shape tempo and nuance to follow the contours of the melody and the flow of phrases.

By attending to the resonance of the accompaniment’s harmonies and balancing the right and left hands, you can fully savor the atmosphere of refined, elegant salon music.