Issues : No pedal release mark
b. 572
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composition: Op. 11, Concerto in E minor, Mvt I
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The mark, overlooked in FE, was added in the remaining editions, although its absence does not have to be considered a mistake – cf. e.g. the Waltz in C Minor, Op. 64 No. 2, bar 15. In the main text, we suggest adding the mark in accordance with the possible phrasing, hence before the last quaver, which already begins the next musical thought. category imprint: Differences between sources; Editorial revisions issues: EE revisions , GE revisions , No pedal release mark |
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b. 593
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composition: Op. 11, Concerto in E minor, Mvt I
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In this context, the missing mark must be considered an inaccuracy – the fact of writing down a hold of the bass note with hand is most probably aimed at enabling clear pedalling, compliant with harmonic changes. The mark was added already in EE. It is present also in GE3, in the place we suggest in the main text. However, GE3 also arbitrarily moved the mark. category imprint: Differences between sources; Editorial revisions issues: EE revisions , Inaccuracies in FE , GE revisions , No pedal release mark |
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b. 597-598
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composition: Op. 11, Concerto in E minor, Mvt I
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The missing mark may be, but does not have to, a mistake of FE or an inaccuracy of [A]. However, since the previous appearances of this phrase offer two variants of a more detailed Chopinesque pedalling, we suggest respective additions; moreover, we adopt the indication modelled on bars 246-247, being a strict transposition of the discussed bars, in the main text. A mark was added also in EE and GE3. category imprint: Differences between sources; Editorial revisions issues: EE revisions , GE revisions , No pedal release mark |
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b. 632-634
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composition: Op. 39, Scherzo in C♯ minor
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None of the sources provides correct pedalling in these bars. No in EE (b. 632) and FE (b. 634) may only slightly mislead the performer as in both sources the moment of releasing (changing) pedals is marked with (accordingly in bars 633 and 635). In GC (→GE) there is no pedalling until the end of the piece, which most certainly can be classified as the copyist's omission (in two last lines of the text 259-266 i 548-553). category imprint: Differences between sources issues: Inaccuracies in FE , No pedal release mark , Errors of GC |
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b. 644-645
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composition: Op. 39, Scherzo in C♯ minor
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The EE pedalling, however formally correct, raises doubts as for its singling out of the third crotchet in b. 643, which in this tempo is difficult to perform and sonically unjustified. In FE pedal release in b. 645 is surprising as it contradicts the pedaling technique leading to the cumulation of sound of the subsequent chords, which was commonly used by Chopin at the end of his works (but not only there). Pedalling in GC (→GE) must have been omitted (cf. annotation to bars 632-634). For the main text we adopt the pedalling based on FE but without in b. 645, whose authenticity we doubt. category imprint: Differences between sources issues: FE revisions , No pedal release mark , Errors of GC |