Pedalling
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b. 31
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composition: Op. 25 No 3, Etude in F major
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Similarly as in bar 24, one group of sources (EE) has a pedal change here, omitted in other sources. Most probably, it is the original version, overlooked by Chopin at the time of introducing corrections. category imprint: Differences between sources |
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b. 56
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composition: Op. 25 No 3, Etude in F major
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It is hard to state how the discrepancies in pedal markings between GC (→GE) and FE and EE were created. However, if we take into account the fact that the absence of markings in bars 33-55 most probably is to be understood as pedale simile and not senza pedale, the difference in bar 56 comes down to the presence or absence of pedal change on the 2nd beat of the bar. In the main text, we, therefore, suggest such an alternative. Analogous discrepancies in the pedalling in similar contexts can be seen throughout the entire Etude – cf. bar 25. category imprint: Differences between sources issues: Inaccuracies in GC |
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b. 58
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composition: Op. 25 No 3, Etude in F major
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Same as in bar 56, it is unclear which pedalling version Chopin wanted to eventually recommend to performers (if he took any decision concerning this issue at all). Therefore, in the main text we suggest a variant solution. Cf. bar 25. category imprint: Differences between sources |
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b. 69-70
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composition: Op. 25 No 3, Etude in F major
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The notation of GC is unclear, as far as the placement of the sign is concerned. In the main text, we place it under the f4 crotchet, which is a closer interpretation to the versions of the remaining sources. category imprint: Interpretations within context; Differences between sources issues: Authentic corrections in GC |
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b. 72
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composition: Op. 25 No 3, Etude in F major
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The asterisk in EE is almost certainly an addition of revision – cf. the Etude in A major, No. 1 and in F minor, No. 2. category imprint: Differences between sources issues: EE revisions |
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