Scherzo2 Chopin question

[optima]

i  just wanted to ask you:  the second time we return to Bb minor (after the A major section), how do you play those arpeggios? Is it wrong to begin from the upper note to the last ? or is it better if i take some time to play the voicings?it can't be strictly on tempo!!

[general disarray]

I don't quite understand what you are asking here.

Those big arpeggiated chords that come at the end of the Trio development section in A Major?  At the B-flat minor return.  There?

If so, you roll the left hand from top to bottom simultaneously as you roll the right hand from top to bottom.  Together.  A big, fat whoosh.  VAROOM!  The voicing happens of itself.  And in tempo?  Well, yeah, but the writing sort of demands intense emphasis on these chords . . . you can't help pulling back from the tempo a bit, which I think sounds dramatic, but they CAN be played in tempo, too, which also is an exciting effect.  Of course, by the time you get to this spot in performance, you're so frickin' tired you don't much care what happens.   

Hope I answered your question. 

[michael_langlois]

I don't quite understand what you are asking here.

Those big arpeggiated chords that come at the end of the Trio development section in A Major?  At the B-flat minor return.  There?

If so, you roll the left hand from top to bottom simultaneously as you roll the right hand from top to bottom.  Together.  A big, fat whoosh.  VAROOM!  The voicing happens of itself.  And in tempo?  Well, yeah, but the writing sort of demands intense emphasis on these chords . . . you can't help pulling back from the tempo a bit, which I think sounds dramatic, but they CAN be played in tempo, too, which also is an exciting effect.  Of course, by the time you get to this spot in performance, you're so frickin' tired you don't much care what happens.   

Hope I answered your question. 

If this is the section you are talking about, I found a fingering that facilitates the tempo: m. 552, use in RH 12435(!) 5 - strike the LH Bb octave with the F on the downbeat of m. 553.  In the LH, I use 54234 into the downbeat of 553.

But then, the fact that he writes these chords as arpeggi indicates that the passage is not to be taken in as strict time as the rest - after all, it is the climax of the piece!  My take is that one should be able to be play the passage nearly in time, so that any separation of gestures and/or ritenuti are willfully done, rather than a result of insufficient technique.

Hope this helps!

Best wishes,
ML

[optima]

thank you both for your answers!

- strike the LH Bb octave with the F on the downbeat of m. 553. 

i don't quite understand what you are saying here - what i do now that helped me a lot is that when i have the semiquaves  in front of the arpeggios, i do a big united arpeggio in both hands instead of one arpeggio in each hand - it sounds dynamical and it's a bit easier