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Franz Liszt: Variations for bars 145—148 of Frédéric Chopin's Grande valse brillante in E-flat major (Op.18), S.479a. This piece needs no introduction. From its appearance in the 1952 Tom and Jerry episode "The Flying Cat" to the Japanese video game Eternal Sonata, it seems unimaginable that Chopin's Grande valse brillante in E♭ major was ever deemed out of fashion by the public. As the first waltz he published (published in 1834 as Op.18), it became an instant sensation. Among the thematically richest pieces Chopin ever penned—some sources suggest the incorporation of up to seven dance tunes—this lighthearted work showcased a rare departure from his usual introversion. It has remained firmly lodged in the public consciousness ever since, much to the disdain of certain serious classical music listeners and performers, ourselves included. Liszt's variant of his dear friend's famous work, however, languished in utter obscurity. The alterations were overlooked by Humphrey Searle in his early catalogue, by Leslie Howard in his all-encompassing recording cycle, and even within ongoing Naxos recording projects. It was only very recently that this variant was finally introduced into the thematic catalogue as S.479a (with S.479b being the variant to the Finale of Chopin's 3rd Sonata). Tracked down at The Morgan Library & Museum in New York City, the manuscript containing Liszt's written modifications dates back to 1834. Unfortunately, to this day, the autograph has not been digitized—a rare exception to the growing online library of Liszt's manuscripts. The changes themselves are, admittedly, small. The autograph, in Liszt's hand, bears the title "Valse de Chopin" and consists of a mere four bars of music, featuring an upper staff that likely implies an ossia text for the right hand. (This staff only has 3 bars written out!—Thankfully the rest of the passage can be surmised readily enough.) These modifications pertain to bars 145–148 of the original piece. Curiously, there are no dynamic markings, articulations, or pedaling directives. Only the right-hand text diverges from Chopin's published score: the ossia includes an additional ottava sign upon Chopin's text, while the main text introduces two sets of quadruplets (with an acciaccatura for each note) in bars 145 and 146, with a free extension of this pattern into the subsequent two bars. For this video, the ossia is employed during the section's initial appearance, while the main text is played in the repeat that follows shortly after. Though the result may sound somewhat unexpected to modern ears, it perfectly encapsulates Liszt's penchant for experimental polyrhythms in the mid-1830s. By 1834, Liszt and Chopin were close confidants, and Liszt would almost certainly have been called upon to perform his friend's warhorse at salon gatherings—the most plausible event for jotting down this variant. Whether Liszt actually performed this specific version, or whether Chopin was even aware of its existence, remains a mystery. Yet, judging by the various alterations to the Grande valse brillante that Chopin sanctioned for his students in subsequent years (as documented in the Chopin National Edition), the composer himself would most likely not have minded. Both men were phenomenal improvisers, and one can easily imagine that countless other textual deviations have been lost to history. Regardless, this Liszt variant provides an authentic glimpse into his artistic attitude toward Chopin and his works. We extend our deepest gratitude to Minkyu Kim for providing the source material. His contributions to the ongoing comprehensive thematic catalogue of Liszt (alongside Aidan Módica, Leslie Howard, and Michael Short) stand as one of the most impressive feats of musicology to date, and we gratefully acknowledge his work! Chopin's original version (played on a 1835 Pleyel): • Grande valse brillante, Op.18 - Frédéric C... Our Discord Server: / discord