Pedalling
|
b. 199-200
|
composition: Op. 49, Fantaisie in F minor
..
The pedal markings were probably added to A after the basis for FE had been finished, that is [FC]. Similarly, in bars 215-216. The absence of the marks in GE1 is most probably an oversight, corrected in GE2. category imprint: Differences between sources; Corrections & alterations issues: Errors in GE , GE revisions |
|||||||||
|
b. 215-216
|
composition: Op. 49, Fantaisie in F minor
..
As in bars 199-200, the pedal markings were probably added to A after the basis for FE had been finished, that is [FC]. In EE2 the marks were added after comparing it with GE1. category imprint: Differences between sources; Corrections & alterations issues: GE revisions |
|||||||||
|
b. 223
|
composition: Op. 49, Fantaisie in F minor
..
In the main text we give the A version (→GE), supplemented after authentic pedal markings in similar situations, e.g. in bar 229. The FE version can be considered an equal variant. We also suggest an alternative interpretation of the imprecise A notation. category imprint: Differences between sources; Editorial revisions issues: No pedal release mark |
|||||||||
|
b. 227
|
composition: Op. 49, Fantaisie in F minor
..
The literal interpretation of the A notation, confirmed in FE (→EE) via [FC], does not, according to us, correspond to Chopin's intention. The composer would often write a category imprint: Differences between sources; Editorial revisions issues: Inaccuracies in GE , Inaccuracies in A |
|||||||||
|
b. 229
|
composition: Op. 49, Fantaisie in F minor
..
Chopin probably added a pedal change in this bar to A after [FC], the basis for FE, had been finished. However, both versions can be considered equal, since in similar situations, when the following passage is based on the same chord, Chopin would use a continuous pedal, as in the FE version (→EE1). The pedal markings of EE2 were added on the basis of GE1, yet the category imprint: Differences between sources issues: EE revisions , EE inaccuracies |
in 
in 
