Chopin Vol. 1

The 'Grande valse brillante' in E-flat major, Op. 18, for solo piano: a fanfare-like call to the floor followed by a chain of exuberant, happily spinning waltz episodes. The longest and highest-spirited cue on the album, with an unmistakable celebratory close.

A vivace E minor waltz for solo piano — brisk, brilliant and restless, minor-key but played with cheerful drive and glittering runs. Under three minutes, it combines urgency with period elegance in a way the slower waltzes here do not.

Chopin's A-flat major waltz Op. 42 for solo piano, one of his most virtuosic: a long trilled opening, then cross-rhythmic melody over a fast waltz bass, cheerful and increasingly brilliant. At four minutes it builds real momentum toward an emphatic finish.

Solo piano waltz in D-flat major, Op. 70 No. 3, with a flowing right-hand melody over a steady triple-time bass — affectionate, unhurried and lightly nostalgic. Three minutes of even, uneventful elegance that sits well behind dialogue.

The F minor waltz Op. 70 No. 2 on solo piano: a plaintive, singing minor-key melody over a restrained waltz figure, sentimental and quietly aching. Similar in length to its G-flat neighbour but far darker in colour.

Brief solo piano waltz in G-flat major, Op. 70 No. 1, light and fleet with a decorative, salon-dance surface. Just under two and a half minutes, it is straightforward romantic period colour for a short scene.

Chopin's B minor waltz Op. 69 No. 2 for solo piano — a shadowed, swaying minor-key waltz with chromatic inner lines and a brighter contrasting episode. Romantic and inward at 3:28, it suits scenes of private thought rather than public dance.

The 'Farewell' waltz in A-flat major, Op. 69 No. 1, on solo piano: a tender, drooping main theme over a soft waltz accompaniment, tinged with genuine sadness. Its four-minute span and valedictory character make it the album's clearest choice for goodbyes.

Solo piano waltz in A-flat major, Op. 64 No. 3 — warm, gracious salon writing with a gently rocking triple metre and tender middle section. Mid-length at 2:43 and less showy than the brilliant waltzes, it works as understated period texture.

Chopin's much-loved C-sharp minor waltz Op. 64 No. 2 for solo piano, alternating a wistful, hesitant main theme with faster, more restless passages. Romantic and openly sentimental, it carries an air of unresolved longing even as it closes.

The famous 'Minute Waltz' in D-flat major, Op. 64 No. 1, played on solo piano: a continuous whirling figure over a light waltz pulse, elegant and quick-witted. At 1:53 it is the most compact cue here and suits fast, playful cutting.

A short, buoyant solo piano waltz in F major, Op. 34 No. 3, spinning along in light, chattering figuration. Its two-minute length makes it an efficient drop-in for a scene that needs charm and forward motion without a long musical arc.

Chopin's A minor waltz Op. 34 No. 2 for solo piano — the melancholy sister to the brilliant waltzes, with a slow, dark-hued triple-time tread and long singing melodic lines. The longest cue in the set at 5:14, it sustains a mood of quiet regret rather than dance.

Solo piano performance of Chopin's Waltz in A-flat major Op. 34 No. 1, the 'Valse brillante' — bright, dance-driven writing with a sweeping ballroom lilt and lyrical, sentimental interior sections. At nearly five minutes it gives an editor a full arc from glittering opening flourish to decisive close.