Question about fingering for Chopin's Barcarolle

[tchristec]

So I have finally gotten to the Barcarolle after having my eye on it for several years. I am enjoying myself very much as it is one of my all time favorite pieces for solo piano. My question concerns fingering when it comes to the grace notes attached to a third, for example, in the 6th measure where the main theme begins. As I understand, these grace notes are played on the beat and not before, which is the way I have been playing them when I have encountered them in other Chopin works. Naturally I assume the Barcarolle is no exception. However, when I encounter these notes in Chopin works or really any other composers works I separate the note before the grace note in order to bring it out a bit. This also allows to a certain extent for non-legato fingering.

Now for the question. Because this piece is to be played cantabile, as it is a boat song, should this practice of separating the grace note from the note before it be continued? I imagine the ideal would be to try to emulate the human voice as much as possible with this piece which would mean there would be no break in between. Or perhaps this is just a matter of making an interpretational choice?

So far the only recording I have listened to is Argerich, but while she plays it beautifully she is not my personal favorite when it comes to Chopin so I am looking for a bit wider perspective on this.

If anyone has some insights or advice I would greatly appreciate hearing from you.
Thanks!

[tchristec]

Perhaps I should infer from the lack of replies that I am being overly obsessive about something people probably won't even notice  .  For some reason this morning it was really bugging me and I couldn't get this out of my head.  I played those passages both ways numerous times and finally just decided to stick with the standard.  It must be just my crazy OCD

[nyiregyhazi]

Now for the question. Because this piece is to be played cantabile, as it is a boat song, should this practice of separating the grace note from the note before it be continued? I imagine the ideal would be to try to emulate the human voice as much as possible with this piece which would mean there would be no break in between. Or perhaps this is just a matter of making an interpretational choice?

I don't follow, I'm afraid. Unless deliberately giving the impression that one phrase has ended (in which case the release might emulate the timing and effect of a "breath") what direct difference would it make? It's not necessarily a disaster or even a problem to use a moment of non-legato fingering mid phrase (as long as you are very careful about controlling the continuity of the line) but I'm not sure why it would be specifically beneficial, musically speaking. When the pedal is down, the issue is of control. Physical legato can aid that though- which is what people often forget.

[tchristec]

Thank you for your insights.  Your statement about control is a good thing to remember.  It's interesting, I am starting to see how much I needlessly obsess over small, strange things.  Just last night I had a weird dream in which I was tasked to finger a Bach prelude and fugue for a PE class.  There was so much pressure.  I wonder if perhaps I experienced a traumatic event in my childhood due to fingering and it still haunts me lol.