No. 3, Op. 34-2, A minor

Regarding performance, the author believes that a performance that feels shorter, even if it takes the same amount of time, is superior to one that feels longer. This is not about a performance ending quickly due to a fast tempo, but rather about a performance that feels shorter despite taking exactly the same amount of time. A performance that feels shorter overall is influenced by many factors, such as:

• a clear understanding of the form, and a performance where the peak points of each section and phrase are clearly discernible
• a rich variety of timbres
• a wide dynamic range
• a performance that is not fragmented

In any case, the fundamental premise is that the performance must captivate the audience, and this waltz, if poorly executed, can feel very long, so caution is advised. The form of this piece is described on its commentary page; please refer to it.

First, regarding the tempo, this is certainly not a metronomic Lento. Please understand it to mean 'leisurely' or 'gently'. I believe it is acceptable to have slight tempo differences between sections. Please set the tempo according to the specific circumstances (ensuring that the tempo of each section does not differ too drastically).

Looking at the left-hand melody in the opening four measures, it feels very restless. It depicts a psychologically unsettled and unstable state. And measure 8 becomes the peak point. Naturally, after repeating the same material, enter measure 11 with a diminuendo in measure 10. One section ends here. I believe it is fine to sing freely, as if a tenor singer were performing it; rubato is essential.

In measures 16-20, there are quarter rests on the first beat of measures 18 and 20. And there are two quarter notes each on beats 2-3. As an experiment, try removing these rests and shifting the two quarter notes to beats 1-2. It still sounds like a beautiful piece, doesn't it? However, Chopin deliberately wrote the rests on the first beat. This is an expression of agitation (in a sense, agitato), a depiction of an extremely restless psychological state. I think it's acceptable to play it with a sense of leaning forward. Considering this, since no quarter rests are found from measure 25 onwards (the next phrase), it can be interpreted that this section is more mentally stable.

In the next section, four sequential, similar phrases enter with different harmonic progressions and melodies. These are measures 37-38, 39-40, 41-42, and 43-44. Please differentiate the atmosphere of all four of these phrases. It would be good to vary the dynamics and tone quality as the performer sees fit, according to each harmony and pitch. These four phrases begin again from measure 45. It's the same as before, but only the last phrase differs from its first appearance. For that final phrase, measures 51-52, hold the pedal down to some extent to sustain the bass E sufficiently, creating a rich, full phrase. At that time, if the E-F-E trill on the first beat of the right hand is left in the pedal, it will create a blur that will remain, so change the pedal after the trill. Naturally, change the pedal while keeping the 5th finger of the left hand on E. By doing so, you can sustain the bass while avoiding muddiness.

From measure 53 onwards, the piece shifts to the parallel major, A major, which is a somewhat otherworldly section, as if one were seeing a fantasy. I believe it is appropriate to play the cadenza (cadence) at measure 65 as softly as possible (ppp). It is a section where the color changes.

At measure 69, the piece returns to A minor. Naturally, please change the atmosphere from the preceding A major section.

Now, from this point onwards, most phrases will be repetitions of previously introduced material. Performers should employ various creative approaches to ensure that the piece never sags in the middle. Finally, only one new section appears. This is from measure 169 onwards. It's material that hasn't appeared before. I believe this is a section where one can be emotional. From measure 177 onwards, the mood changes again.