Gurlitt’s “Waltz,” Op. 101, No. 11 is a lyrical Romantic character piece in G major, written in 3/4 time and marked Moderato. The music has a graceful waltz character, with a singing melody, soft dynamic markings, long slurs, and a steady left-hand accompaniment. Instead of a showy dance piece, this waltz is gentle and expressive, asking the student to play with a smooth tone, clear phrasing, and careful balance between the melody and accompaniment.

Measures 1–8 introduce the main waltz theme. The melody is marked p cantabile, meaning it should be played softly and in a singing style. The right hand carries the main line while the left hand supports with long bass notes and light waltz accompaniment.

Measures 9–16 continue the opening idea with similar phrasing and gentle dynamic shaping. The melody includes small stepwise figures and expressive slurs, while the left hand keeps the 3/4 pulse steady underneath. The section gradually moves toward a quieter, more delicate sound.

Measures 17–24 begin a softer middle phrase marked p dolce. The right hand plays longer, more sustained melody notes while the left hand uses simple chordal accompaniment. This section should sound sweet and calm, with a light touch and a clear singing upper voice.

Measures 25–34 continue the dolce character and lead to the Fine. The music softens through a decrescendo and becomes more settled. The left hand keeps the gentle waltz support while the right hand holds longer tones, creating a peaceful close to the first large section.

Measures 35–42 begin a stronger contrasting section at f. The texture becomes more active, with flowing eighth-note figures and wider movement between the hands. This gives the piece more energy after the gentle opening.

Measures 43–50 continue the contrasting section with more motion and growing intensity. The right hand uses longer connected lines, while the left hand supports with rising bass patterns. The crescendo markings help the music build toward a fuller sound.

Measures 51–60 bring the strongest part of the second section. The dynamic returns to f, and the hands move through broader phrases with more energy. The left hand continues the waltz foundation while the right hand shapes the upper line with clear direction.

Measures 61 to the end form the closing transition. The music softens through a diminuendo and returns to p. The direction D.C. al Fine sends the performer back to the beginning, ending the piece at the Fine marking and giving the waltz a rounded form.

Interesting fact: The German title of this piece is Walzer, which means “waltz.” Waltzes are built around triple meter, and Gurlitt uses that familiar dance rhythm here in a gentle student-friendly way, focusing more on lyrical phrasing than on speed or brilliance.