Pedalling
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b. 9
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composition: WN 17, Polonaise in B♭ major
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In the main text we consider the pedalling of PE, which by all means seems to be authentic. category imprint: Differences between sources |
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b. 11
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composition: WN 17, Polonaise in B♭ major
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The pedalling of EF, probably added by Fontana, is valid only in relation to the earlier version of the accompaniment written in JC and EF. category imprint: Differences between sources |
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b. 12
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composition: WN 17, Polonaise in B♭ major
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Generally, Chopin's pedalling aims at holding the bass note as a background for the later performed harmonic filling. Therefore, the omission of exactly the bass note in the pedalling of PE indicates an inaccurate recreation of the notation of [A]. In the main text we adopt the pedalling of EF, compatible with the principles followed by Chopin in this respect. category imprint: Interpretations within context; Differences between sources issues: Errors in PE |
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b. 13-14
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composition: WN 17, Polonaise in B♭ major
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General coincidence of Chopin's pedalling in PE and the one added in EF indicates Fontana's good sense of Chopin's pedalling style. The minor difference in the positioning of category imprint: Differences between sources |
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b. 17
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composition: WN 17, Polonaise in B♭ major
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We give pedalling markings after PE. In JC, they are completely absent, while in EF the category imprint: Differences between sources |
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