mUltimate Chopin

Op. 49, Fantaisie in F minor

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Pedalling

b. 36

composition: Op. 49, Fantaisie in F minor

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In GE the  sign is wrongly placed to the right of the 3rd crotchet instead of to the left.

category imprint: Differences between sources

issues: Inaccuracies in GE

b. 43-48

composition: Op. 49, Fantaisie in F minor

4 bar-long pedals in A & GE2

3 bar-long pedals in GE1

No markings in FE1

4 half-bar-long pedals in FE2 (→EE)

Our variant suggestion
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The whole-bar pedalling entered into A in bar 43, 45 and 47-48 was inaccurately recreated in GE1 – the markings in bar 48 were overlooked. The defect was corrected in GE2.

These markings are absent in FE1, which can also be an oversight by the copyist in [FC] or by the engraver of FE (the other possibility – the markings having been added to A later – seems less likely in this context). In the FE2 (→EE) pedalling, probably added by Chopin, it is the consistent use of half-bar pedalling that is noteworthy, contrary to the whole-bar pedalling present in A, while in analogous bars 54-59 – present in all sources. It could be considered an alternative concept, taking into account the effect of the written-down harmonic legato (holding the notes of chords with one's fingers) to a greater extent. In the main text we suggest a variant solution, that is holding the pedal to the end of the bar with an option to release it already in the middle of the bar.

category imprint: Differences between sources

issues: EE revisions

b. 49-50

composition: Op. 49, Fantaisie in F minor

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In GE1 3 subsequent pedal markings were overlooked –  marks in bar 49 and 50 and  in bar 50. The mistake was corrected in GE2.

category imprint: Differences between sources

issues: Errors in GE , GE revisions

b. 51-53

composition: Op. 49, Fantaisie in F minor

Pedalling in b. 52-53 in A (→GE) & EE2

Pedalling in b. 52 in FE (→EE1)
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The origin of the difference in the position of the pedal markings between A and FE is unclear. In A bar 52 is tightly packed, as a result of which the  mark is actually under the rest, whereas it starts at the beginning of the bar. It could have been misinterpreted by the copyist as a pedal change between bars 51-52. If we were to add to it a mistake in the placement of the next  mark, the FE pedalling would come from mistakes. On the other hand, it is pianistically justified and could have been introduced by Chopin – cf. the authentic pedalling of all subsequent appearances of the descending motif consisting of three octaves (bars 153-154, 197-198 and 233-234), in which it always enters against a sound sustained with pedal (pressed earlier). Taking into account the above, in the main text we suggest a variant solution with the A pedalling as the main one.
The change of pedalling in EE2 was undoubtedly influenced by GE1. 

category imprint: Differences between sources; Editorial revisions

issues: EE revisions , Inaccuracies in FE , Authentic corrections of FE

b. 64-67

composition: Op. 49, Fantaisie in F minor

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In GE1 there are no pedal markings in these bars. The oversight was corrected in GE2. In FE (→EE) the  mark is missing.

category imprint: Differences between sources

issues: Inaccuracies in FE , Errors in GE , GE revisions