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The question of how you play on an individual piano is as important as which edition you use - in fact it could be more important. In today's world, people tend to go for legato pedaling as a rule, but not so in Miluki's edition, but then todays pianos damp more effectively and for that reason have less 'reverb' around the tone. The pedaling in the Miluki edition is very good and very much of it's time. I think it's important to use an edition that Chopin knew, as well as looking into other more 'urtext' editions.Īt the end of the day, as a performer you have the ultimate choice of which version you play, which uncertain accidental you go for, which phrasing you choose. Whether Chopin would give his blessing to the entire edition we can't be sure. The Miluki edition is actually very popular because Miluki knew Chopin, and Chopin was said to have given his blessing to Miluki's work, in some cases Chopin proof-read the edited scores. It's still pretty much an indespensible guide for many pianists. I don't think there's anything wrong with that per se, but it isn't regarded as the ultimate in urtext editing these days. Likewise, the Paderewski edition is a useful performace edition, but bear in mind that it is Paderewski's opinion on Chopin, if you like. The Jan Ekier edition does receive some high praise, but some people criticize it for being inaccurate in places, and making editorial decisions that are not listed as such, or placing alternative versions in the main score etc. The new Peters edition makes an attempt to put that right, but I'm not entirely sure how it does it.
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Like a prudent juror I want to weigh all available evidence.Ĭhopin is a complicated subject, not least because different versions of his works were published in different countries, and sometimes these versions were sanctioned by Chopin, other times they were edited unscupulously by the publishing house.
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I am interested in picking up useful ideas about fingering from the editions of Rafael Joseffy, Arthur Friedheim, Alfred Cortot, and others, but I regard their additional dynamic and phrase markings with skepticism (but not disrespect) rather than take them at face value as I did as a teenager.
#Chopin etudes paderewski edition free
Sometimes I photocopy the music and print it so that I have a 'working copy' that I feel free to scribble up with all manner of fingerings, notating chord progressions, structural highlights, my random ideas, circling this, pointing an arrow to that, and so forth - a kind of rough draft before zeroing in a more final product. I don't mind spending the money because it is important to me, and $30 for another edition is no big deal.Ī cramped and jumbled late 19th century printing can waste my time by forcing me to squint and get a headache merely to decipher the crudely printed notes, so I always favor a clean and spacious printing. If I am investing quality time in remastering a Chopin Ballade or Beethoven Sonata, I reference at least two editions, if not more. Cross referencing these sources helps me arrive at a reasoned (or intuitive) decision to resolve controversies about notes or ornaments in question. I tend to favor Henle or Wiener editions, but I am not adamant about it - the valuable points for me are the editors notes on contradictions between first editions versus original manuscripts (when they still exist).