No. 7, Op. 64-2, C-sharp minor

This is a musically challenging waltz. The choice of tempo varies greatly among pianists, and there is no single 'correct' or 'incorrect' approach. For example, some pianists change the tempo upon entering the new section at measure 33, while others only alter the tempo of this section upon seeing 'piu mosso' at measure 97. Ultimately, the decision is left to the performer.

The key to this waltz lies in the 'descending second'. This 'descending second' appears in various places, including the melodic line. There are various ways to interpret how to handle these seconds. First, let's look at the beginning. In measures 1-2, the melodic line is E-D-sharp. And if we extract only the third beat notes from measures 3-4, we find D-sharp-C-sharp.

Next, in measures 5-6, the melody is C-sharp-B-sharp, and in measures 7-8, if we extract only the third beat melody, it's B-A. All these intervals are seconds.

If we divide these eight measures into two, they simply split into 1-4 and 5-8. Let's consider only measures 1-4. The melodic line is E-D-sharp, D-sharp-C-sharp. The point of discussion here is the dynamic relationship between measures 1-2 and 3-4. If the melody is E-D-sharp, it's natural to play the D-sharp softer than the E. Similarly, if it's D-sharp-C-sharp, it's natural to play the C-sharp softer than the D-sharp.

Here, one might consider this four-measure phrase as 2 measures x 2, playing the first note of each pair louder and the subsequent note softer. However, when considering this as a four-measure unit, it becomes E-D-sharp-D-sharp-C-sharp, leading to a discussion about which of the two D-sharps should be louder. In fact, some editions have a crescendo marking in measures 3-4, and I often observe students playing measures 3-4 louder than measures 1-2. Even if students are not particularly conscious of these dynamic relationships, measures 3-4 tend to become louder than 1-2 due to the number of notes. Measures 3-4 have significantly more notes, so the volume naturally increases.

However, if we consider this as a song, the melody in measures 1-2 is truly the main subject and has strong expression. Measures 3-4, on the other hand, can be imagined as whispering or speaking quietly, like a secret. For this author, while these four measures can be divided into 2x2, the volume in measures 3-4 would be significantly reduced compared to 1-2. Here's an important note: many students, when playing measures 3-4, tend to gloss over or omit repeated notes when moving from the off-beat of the second beat to the third beat. For example, in measure 3, there are two F-sharp notes between the second and third beats. These must be clearly heard as 'two' distinct notes.

Now, returning to the main topic. When considering the phrase in four-measure units, there are two descending second figures, implying that the volume should decrease as one progresses to the right. However, looking from measure 5 onwards, we see that from C-sharp, which was the lowest note in measures 1-4, the notes gradually descend further by seconds. By measure 9, it descends all the way to G-sharp.

This might lead one to think that a diminuendo must be applied all the way to measure 9, assuming that higher notes imply louder volume, but this is not necessarily the case. Try playing the chords in measures 5-8. You'll find a very sweet, almost cloying, mood that is completely different from measures 1-4. It almost sounds like someone is pleading for something. In fact, the expression might be stronger than in measures 1-2. While maintaining the order of a gradual diminuendo in four-measure units, measures 5-8 should be treated as a new phrase. It certainly does not need to be softer than measures 1-4.

And the strongest expression comes from the phrase featuring a second interval starting at measure 9. This A note is a suspension, a non-harmonic tone that prolongs the previous note. When this A overlaps with the bass G-sharp, it forms a minor ninth, becoming a 'truly perplexing second'. Compared to the seconds in measures 1-2 and 5-6, the second in measure 9 is truly special. And this second then ascends from this point, but when comparing the same phrase in measure 11 with measure 9, despite ascending, doesn't the phrase in measure 11 feel softer? Indeed. The A section of this waltz actually has a 'tendency' for the expression to become stronger, and consequently the volume to increase, as it descends. Look at measures 25-29. The color is clearly different compared to measures 9-12. Around here (26-29), even using the soft pedal, it should be very soft, completely changing the color. It becomes serious from measure 30, so return to the original character here, but since this section ends at measure 32, take ample time and play measures 31-32 as if reading the end of a sentence.

Next is section B within the A section, which we can call A2. It starts from measure 33 and ends at measure 64. Setting aside the discussion of tempo, in this section too, the volume increases as it descends towards measure 39. Measure 45 features a Neapolitan sixth chord. Apply a diminuendo as it ascends.

Now, what troubles performers is measures 49-64, because a 'pp' dynamic is indicated. This raises the question of how to differentiate it from the preceding measures 39-48. Playing measures 49-64 at 'pp' is extremely difficult, but doing so would require slightly increasing the volume of measures 39-48. This dilemma is truly challenging. Here's a suggestion from the author: play measures 39-48 normally at 'p', and for measures 49-64, try using the pedal as sparingly as possible. This should allow for a significant 'pp'.

From measure 65, it becomes the B section. In this section, it's safe to assume that the higher the pitch, the more heightened the emotion. Measure 70 is louder than 65, 73 is louder than 70, and it reaches its peak at 75. However, simply increasing the volume indiscriminately can make it sound rough, so apply broadening and take ample time to reach the D-flat on the third beat of measure 75. If I were to express my personal feeling, I actually feel more strength in the chord at measure 77. I believe this could also be the loudest point.

C-sharp minor, Tempo giusto, is dedicated to Baroness Nathaniel de Rothschild. Like the preceding piece, it is written in ternary form, but one of its themes functions as a ritornello. In the middle section, it modulates to D-flat major, whose tonic is enharmonically equivalent to the original, and becomes Piu lento. Even after shifting to the major key, the melancholic character of this waltz's theme does not disappear, which can be said to add depth to the piece.