mUltimate Chopin

Op. 49, Fantaisie in F minor

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Pedalling

b. 87-88

composition: Op. 49, Fantaisie in F minor

Two-bar pedal in A (→GE)

Pedal in b. 88 in FE (→EE)
..

It is difficult to say what the origin of the FE pedalling is. It does not seem to be a mistake, since a pedal encompassing only the descending fragment of the passage is present in FE also in bars 91-92. Nevertheless, it cannot correspond to Chopin's final intention, since in all further analogous places – bars 174-175, 178-179, 254-255 and 258-259 – all sources unanimously include two-bar pedals.

category imprint: Differences between sources

b. 91-92

composition: Op. 49, Fantaisie in F minor

Two-bar pedal in A (→GE)

Pedal in b. 92 in FE (→EE)
..

As in bars 87-88, the FE (→EE) pedalling cannot, according to us, correspond to Chopin's final intention.

category imprint: Differences between sources

b. 93-94

composition: Op. 49, Fantaisie in F minor

Pedalling in A (→GE)

No markings in FE (→EE)
..

According to us, the most plausible explanation for the lack of pedalling in FE (→EE) is that the pedal markings were added to A after [FC], the basis for FE, had already been prepared. Such a conclusion results from the examination of a few other similar discrepancies between A and FE – cf., e.g. bars 116-118 and 124-126.

category imprint: Differences between sources

b. 110

composition: Op. 49, Fantaisie in F minor

Pedalling in A (→GE)

No markings in FE (→EE)
..

The missing pedal markings in this bar probably resulted from an oversight by the copyist in [FC] or by the engraver in FE1.

category imprint: Differences between sources

issues: Errors in FE

b. 112

composition: Op. 49, Fantaisie in F minor

Pedal from 1st octave after A (→GE)

Pedal from 2nd octave in FE (→EE)
..

In FE (→EE) the pedal markings are shifted to the right with respect to A, which, taking into account the likely oversights in bar 110 and 116, could be considered an inaccuracy. On the other hand, considering the authentic sound of the 1st L.H. octave, this version of pedalling results in a more transparent overview of the harmonic structure, with a distinct chord in second inversion. The A pedalling, in which this chord overlaps with the bass E1, obliterates its function of a delayed dominant. This makes us regard the FE version as potentially authentic. In our version of the 1st octave it is the A pedalling that is more natural, hence we provide it in the main text.

category imprint: Differences between sources

issues: Inaccuracies in FE , Authentic corrections of FE