WN 29, Waltz in E minor

The only source of the Waltz based on a manuscript, most probably on a copy of [A] (lost autograph), prepared especially by the publisher. It was most probably in this copy that the text was revised, for example:

• the repetition of bars 89-112 was written out in extenso, while in [A] it was almost certainly marked in an abridged manner;
• possible additions of pedalling markings and maybe of other performance indications as well.

Moreover, if [A] was an autograph of a working nature, there were probably more elements that were written down in an abridged manner (e.g. bars 17-23 and analog.); at the same time, it would not contain the majority of the performance indications, the authenticity of which would be questionable then. However, according to us, [A] was advanced enough to be sent to the composer's friend, Tytus Woyciechowski, which is indicated by the following fragment of Chopin's letter,* which could be referring to this very Waltz: "I also wanted to send you a new waltz, just for fun, but you will receive it already next week."

The quoted letter illustrates an otherwise known habit of young Chopin of sharing newly composed, small pieces with his friends; therefore, even if the letter was not referring to this Waltz, it makes the assumption that [A] was a fairly finished autograph/gift more likely.

PE1 includes a number of indisputable mistakes and inaccuracies, e.g.:

• illogical notation of the grace notes in bars 71 and 111,
• incomplete pedalling at times, e.g. in the introduction, in bars 115-118 or 124,
• inconsistent articulation markings, pointing to oversights or inaccurate notation, e.g. no staccato dots in bar 9 or slurs in bars 115, 120 and 122,
• Terzverschreibung in bar 111/135. 

^* To Tytus Woyciechowski in Poturzyn, Warsaw 15 V 1830. It was Oskar Kolberg who associated the Waltz with this letter; by the end of 1879, Kolberg tried to verify his assumption by writing to Woyciechowski; however, the addressee had already been dead for a few months back then. Nevertheless, it seems likely, since:

• no other waltz that Chopin could mean in the letter is known;
• the Polonaise in G, WN 35, also offered to Woyciechowski in 1830, was published by J. Kaufmanna's company, the first publisher of the Waltz;
• the stylistic features of the piece do not deny the possibility that it was created during the period directly preceding the date of Chopin's letter (1830).

The statement from Chopin's letter, even if not referring to this Waltz, illustrates a habit of young Chopin, known from other letters and preserved manuscripts, of sharing newly composed, small pieces with his friends. Therefore, it is highly likely that Chopin offered this Waltz as a gift, although perhaps on a different occasion, and prepared a fairly finished autograph/gift to this purpose.