http://www.youtube.com/watch?v=2WpDH5zbhIk

I noticed some people, including Rubinstein, has additional middle melody in the fast section of this Waltz Op. 64 No.2. The additional melody is G#, G#, F#, E, D#, and C#. In the video, the melody can be heard starting at 2:07. The first fast part has no middle melody.

Henle Urtext does not have this additional middle melody.

I really appreciate if anybody can tell me which edition has this addtional middle melody.

Thanks in advance.
ROn

Since you have the Henle at hand, it would be helpful if you indicated in which measures you hear this "additional middle melody". I followed the Henle score, twice, with this video, and to my reading Rubinstein played exactly as the score is notated.

Regards,

Bruce,

Thank you for comparing. I should have been more specific. The first fast part was played exactly like what in the Henle Edition, however, the second fast part starting at 2:07, there is a line of middle melody. I really like this middle melody. I assume that middle melody was not just added by Rubinstein. I really appreciate if you know what edidtion has that middle melody.

Regards,
Ron

RS,

I don't hear anything unusual in Rubinstein's performance. Could you be hearing a separate melodic line implicit in notes that are already there? The succession of notes you mentioned is present in the figuration as written from one measure to the next.

Steven

Steven,

Since you said that the notes is present in the figuration as writte......You must have the edition that has middle melody line. Which edition do you use? My Henle totally does not have that G#, G#, F#, E, D# and C#.

RS,

I have Paderewski (published by Dover), and learned from the Joseffy (published by Schirmer). I've also checked the one at IMSLP (Mikuli), and the notation is the same in all of these.

Except for the first G#, the notes you mention are the first and third quavers/eighth notes in each measure. Are you sure that's not what you're hearing?

Steven

I think I know what is going on. I paid attention one more time to my Henle edition and found that those notes are actually there. However, the difference is that some people stress those G#, G#, F#, E....so that as if there were additional additional melody.

Thanks for all of the replies...

Ron

Right, some performances, (that includes Blechacz in the last Chopin competition) choose to stress that even though it's not explicitly notated.

It is also true that some performers seem to look for "hidden voices" in Chopin, and, in trying to bring them out, they may be trying to bring new vision to oft-played works. It's certainly just a question of interpretation which can be revealing on the one hand and overdone - to the detriment of the whole - on the other.

Regards,

If memory serves me correctly, Klindworth's edition indicates that these notes should be brought out in the repetition of the piu mosso section of the waltz. Cziffra does this noticeably in his recording of the piece.