What would Artur Rubenstein do?

[alzado]

This has to do with Chopin editions.

I have a edition of Chopin waltzes --  Vol. 9 in the Complete Works edition (ed. Paderewski, Warsaw: 1950).  This is a scholarly effort.  It contains all 17 of the Chopin waltzes.  Here's the problem.

I'm currently playing two of the waltzes --  Opus 69, No. 2; and Opus 70, No. 2.

Both waltzes are printed in the book in two versions -- each is printed in the posthumous edition of J. Fontana, who apparently was a celebrated editor of Chopin's work.  The Op. 69, No. 2 is also printed in the Oxford University Press edition.  The second one  -- Op. 70, No. 2 -- is also printed in a second edition (other than Fontana's) which claims to follow several very similar holograph versions currently held in the Paris Conservatore.  [Holograph means -- in Chopin's own hand.]

Here is my question.  Which version would professional concert pianists probably choose to play?  I have an old recording of Artur Rubenstein's waltzes -- Rubenstein was a brilliant performer of the waltzes.  Which version would he -- or any other professional -- tend to choose?

And if you are a really advanced pianist, and have a scholarly knowledge of Chopin's editions, which version would YOU be playing?

Frankly, I am not sure the listener could easily detect the differences .  For one example, some left-hand notes in the one edition are single notes, whereas in the alternate edition they are octaves.  Not hardly enough to get all that excited about, right?

[allthumbs]

This has to do with Chopin editions.


And if you are a really advanced pianist, and have a scholarly knowledge of Chopin's editions, which version would YOU be playing?

Frankly, I am not sure the listener could easily detect the differences .  For one example, some left-hand notes in the one edition are single notes, whereas in the alternate edition they are octaves.  Not hardly enough to get all that excited about, right?

I think I would play the one transcribed directly from the composers own handwriting, if possible, or at least from a first edition (I forgot what this is called) from which the composer made corrections after the printer set the type.

[pianistimo]

here's a site that talks about editions and modern urtexts.  don't really know what rubenstein would do without reading up on his interpretations and what he said or which he played.  maybe there's a web site that contains something of his writings?  i'd bet he'd add a few things like octaves.  not sure though.

www.lib.uchicago.edu/e/su/music/musex.html
www.lib.uchicago.edu/e/su/music/musex.html#Case%2024
 
with the first thread, read 'copyright and simultaneous editions' (case 6) it explains how chopin's works were copyrighted in three countries at the same time on the same day. (but were they really the same editions?)  only the shadow knows.  just kidding.

[alzado]

For one of the waltzes I mentioned in my original posting, I have now begun playing both versions.  This is a good way to determine the extent of the differences.

The Op. 69, No. 2 in the Fontana version is shorter, with differing chord structure in the descending runs. 

The "Oxford Press" version of the same waltz has a much longer intermezzo section, and -- as stated -- has instances of different and somewhat more complex chords in the opening section. 

I am beginning to think there is no clear consensus on which of the variant versions of some of the waltzes are "preferred."  That is the only justification that I can see for printing several versions -- back to back -- in the same collection.

Thanks for the info provided by the respondents.

[kriskicksass]

See if your library has a copy of the Henle Urtext of the waltzes. Whichever they include is probably the most "correct," as supposedly no edition is more researched than the Henle.

[mike_lang]

See if your library has a copy of the Henle Urtext of the waltzes. Whichever they include is probably the most "correct," as supposedly no edition is more researched than the Henle.

Speaking of the heavy research, can anyone explain the A natural in the bass line of the 2nd mvt or Beethoven Appassionata (as opposed to Bbb), first variation?

Michael

[alejo_90]

By the way it's Rubinstein, not Rubenstein.