Chopin’s Waltz in D‑flat major (Presented here in D major), Op. 70 No. 3, comes from 1829, when he was just nineteen and still living in Warsaw — a period full of youthful intensity and artistic discovery. The opening theme has the light, graceful sweep of a salon waltz, perfectly suited to the guitar’s lyrical touch.
The trio section reveals the heart of the piece: the melody drops into the lower register and takes on a more introspective, melancholic color. What seems at first like simple accompaniment becomes a true singing line, carrying a quiet emotional weight that the guitar can bring out with remarkable warmth.
Chopin’s Waltz in D‑flat major (Rendered in D major in this arrangement for guitar), Op. 70 No. 3, is a wonderfully personal piece from a formative moment in his life - and one that translates with surprising ease to the guitar. Written in 1829 during his Warsaw years, it captures the emotional world of a nineteen‑year‑old composer full of artistic ambition, youthful longing, and a growing awareness of his own voice. Like the other waltzes in Op. 70, it remained unpublished until 1855, long after Chopin’s death, which adds to its sense of intimacy and private meaning.
Chopin sent this waltz to his close friend Tytus Woyciechowski with a strikingly personal note: “Take note of one passage marked with a +. No one knows anything about this but you. How sweet it would be for me to play it for you, dearest Tytus.” That marked passage - the bass melody in the trio - was inspired by Chopin’s unrequited affection for the young singer Konstancja Gładkowska. In that light, the waltz becomes more than a charming dance: it’s a musical diary entry, a snapshot of early love and the bittersweet emotions that shaped his youth.
The opening theme is bright, graceful, and full of the salon charm typical of Chopin’s early style. But the trio section reveals the heart of the piece. Here the melody sinks into the lower register - the very passage Chopin singled out in his letter - and the mood turns inward. What might seem like simple accompaniment becomes a true singing line, carrying a quiet melancholy that feels especially resonant on the guitar.
For a guitarist looking to broaden their repertoire, this waltz offers a rewarding blend of lyricism, emotional depth, and technical accessibility. Its contrasting sections invite expressive phrasing, subtle rubato, and a warm, vocal approach to tone - all qualities the guitar can bring out with remarkable sensitivity.
Score: 3 pages
Comments: 4 pages
Below is a link to Youtube which will allow you to get an idea of what this piece sounds like on the piano. (Performed by Alica Sara Ott)
https://www.youtube.com/watch?v=elSjeFuZB5g&list=RDelSjeFuZB5g&start_radio=1
Over the coming months, I will be playing short excerpts from all pieces listed in this catalogue on classical guitar myself and post them on my Youtube channel, titled:
Michael De Baker Arrangements for Classical Guitar.
Thanks for tuning in. Wishing you much musical enjoyment and many rewarding hours with our instrument, the classical guitar.
Michael
Contact. If you’d like to reach out - whether about repertoire, arrangements, or upcoming projects - feel free to email me at mdebakerclassicalguitar@use.startmail.com