Chopin's Waltz in c-sharp op. 64 no. 2

[Glissando]

I'm learning it. It's so increadibly gorgeous! I have a recording of Horowitz playing it and I just love it.
Although it's 6 pages long there's only -3 pages to learn because of all the repeats. So it shouldn't take me long, maybe I'll be able to play it for my next recital.
My favorite part to play is the second page, the RH part is so fun! You're just cascading down the keyboard and then racing back up..... love it. Sounds hard but it really isn't.
The whole thing is beautiful, I love the middle section as well.
Anyway, has anyone else played this piece? Any performance tips?

[sharon_f]

I love this waltz, also! Everyone should learn it. There is so much music in it.

It can be deceptive, however, like most technically simple pieces are. You must have a beautiful, singing tone at all times. There is a matter of balance between the two hands. There are also some very interesting voicings going on throughout it's short 6 pages.

Also, be careful of the repeats. The piu mosso section repeats 3 times and each time there are some very minor differences in the left hand. The main section repeats 2 times. There is a very slight difference at the very end of the second repeat.

Almost every major pianist has recorded this waltz at one time or another. It's amazing how no two of them play it alike.

[Sketchee]

I've played this piece since high school or maybe a little after. I've thought about playing all of Op 64 (collectively published as "Trois Valses"), but I just don't like the other two as much

I've found the crescendos and descrescendos in this piece are enhanced a lot by playing with the voicings.  In the right hand of the first two measures, for example, I like to bring out the top E on the first chord and then on the second I emphasize the descrendo by making the Fx (double sharp) a bit louder relative to the top D#.  That is, I keep the melody sounded clearly in both chords, but the relationship between notes in the right hand changes so that the Fx is more audible relative to the D#.  ... That is much easier to explain at the piano than in words!   This really makes it sound like the melody got dramatically softer although the melody is still very audible.

Anyway, this same idea of using contrast to enhance dynamics works in a lot of places in this piece.  In the Piu mosso, the right hand has a series of decresendos on each measure so I accent the first beat of each right hand note and the left hand stays fairly quiet.  This also helps to establish the one measure phrasing.  Then in the second half of each Piu mosso there's a long phrase mark over the whole section and it's all marked pp.  I play the right hand softly and slightly bring out the first beat of the bass in the left hand to bring out the melodic bassline.  This voicing emphasizes that the section is soft especially compared to the first half of the section.

You can apply this kind of creative voicing in so many ways if you like throughout each section.  It's also a good way to create a slight difference in each repeat too.  Take hints from any changes in the markings as a clue of the character of that instance of the section and interpret from there.  This technique is overt enough that it's not difficult to apply and the result is effective, but subtle in that your audience will probably have trouble knowing exactly what you did.

[Glissando]

Thank you both! Those are great pointers.
I practiced HS today, and HT slowly the first two parts.
So far the main thing I've noticed is that the RH of the piu mosso part wears out my arm when I play it at a fast tempo. My whole arm is sooooo tired!!! Guess that means I'm not ready for La Campanella. 

[Glissando]

Well, I thought I'd update on my progress in case anyone is interested. 
I'm getting the first two pages down, I know the notes fairly well and can concentrate more on dynamics now. I know the notes well enough now so that I'm not unconsiously tensing up my muscles, so I'm no longer getting tired playing the piu mosso part. yay!
I've also got the trills in the first part up to speed, they sound pretty decent now.
So yeah, I'm really enjoying working on this piece!

[Glissando]

Okay, serious question now:
How fast did you two play the waltz?
I have two recordings:
Claudio Arrau: 4 min. 20 sec.
Horowitz: 3 min. 13 sec.
The difference is over a minute. 
Opinions, anyone?

[wynnbear]

Okay, serious question now:
How fast did you two play the waltz?
I have two recordings:
Claudio Arrau: 4 min. 20 sec.
Horowitz: 3 min. 13 sec.
The difference is over a minute. 
Opinions, anyone?

I think that Arrau's tempo is better. 

It's a waltz after all, not a toccata.   

[Glissando]

Thanks Wynne.
Here are some more tempos I found:
Rubinstein: 3:43; 4;15
Van Cliburn: 3:18
Biret: 3:56
Rachmaninoff: 3:34 (I heard a clip of him playing it, he plays it SO different than anything I've heard it was kinda funny. He plays the piu mosso like zoooom! )
Hmm, I'll have to time myself and see what tempo I'm playing at.
Thanks again!