A space of
clearer skies, warmer, more consoling winds are in the D flat
interlude, but the spirit of unrest, ennui returns. The elegiac
imprint is unmistakable in this soul dance. The A flat Valse
which follows is charming. It is for superior souls who dance
with intellectual joy, with the joy that comes of making
exquisite patterns and curves. Out of the salon and from its
brilliantly lighted spaces the dancers do not wander, do not
dance into the darkness and churchyard, as Ehlert imagines of
certain other valses.
The two valses in op. 69, three valses, op. 70, and the two
remaining valses in E minor and E major, need not detain us. They
are posthumous. The first of op. 69 in F minor was composed in
1836; the B minor in 1829; G flat, op. 70, in 1835; F minor in
1843, and D flat major, 1830. The E major and E minor were
composed in 1829. Fontana gave these compositions to the world.
The F minor Valse, op. 69, No. 1, has a charm of its own. Kullak
prints the Fontana and Klindworth variants. This valse is suavely
melancholy, but not so melancholy as the B minor of the same
opus.
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