In the second bar
we have the dominant harmony in the bass, and in the treble,
C, which falls upon the down beat as Vorhalt to the next tone
(B flat), so it must be accented. Also in the fourth bar the B
flat is Vorhalt to the B flat, and likewise requires an
accent. In bars 6, 7 and 8 the notes, A flat, B flat and C,
are without doubt the characteristic ones of the passage, and
the E flat has in each case only a secondary significance.
That a genius like Chopin did not indicate everything
accurately is quite explainable. He flew where we merely limp
after. Moreover, these accents must be felt rather than
executed, with softest touch, and as tenderly as possible.
The D flat Valse--"le valse du petit chien"--is of George Sand's
own prompting. One evening at her home in the Square d'Orleans,
she was amused by her little pet dog, chasing its tail. She
begged Chopin, her little pet pianist, to set the tail to music.
He did so, and behold the world is richer for this piece. I do
not dispute the story. It seems well grounded, but then it is so
ineffably silly! The three valses of this op.
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