mUltimate Chopin

Op. 21, Concerto in F minor, Mvt III

Text Compare Notes Sources Description
Select: 
Category
All
Graphic ambiguousness
Interpretations within context
Differences between sources
Editorial revisions
Corrections & alterations
Source & stylistic information
Pedalling
All
Pitch
Rhythm
Slurs
Articulation, Accents, Hairpins
Verbal indications
Pedalling
Fingering
Ornaments
Shorthand & other
Importance
All
Important
Main
Undo Clear

Pedalling

b. 201-204

composition: Op. 21, Concerto in F minor, Mvt III

 on 2nd beat in A

 on first beat in GE

No pedalling in FE (→EE)

 [] suggested by the editors
..

Shifting the  sign in GE is certainly an inaccuracy and the absence of the sign – a mistake of FE (→EE). In the main text we suggest adding a  sign, in accordance with the harmonic course.

category imprint: Differences between sources; Editorial revisions

issues: Errors in FE , Inaccuracies in GE , No pedal release mark

b. 235

composition: Op. 21, Concerto in F minor, Mvt III

 in A (literal reading→GE1→FE) & GE2

No sign in GE1a

 in A (contextual interpretation) & EE
..

When interpreted literally, the  sign in A (→GE1→FE) suggests pressing pedal on the 5th, 6th or even 7th quaver in the bar. According to us, it is an inaccurate notation – Chopin had already little space under the note and writing the sign before would be even more misleading. According to us, it is EE that interpreted the composer's intention correctly.

In all copies of GE1a, the discussed sign was overlooked as a result of an inaccurately performed graphic proofreading of bars 235-236.

category imprint: Graphic ambiguousness; Differences between sources

issues: EE revisions , Errors resulting from corrections , Errors in GE , Inaccuracies in A

b. 236-237

composition: Op. 21, Concerto in F minor, Mvt III

 in bar 237 in A (→GE→FE)

  in EE

Our variant suggestion
..

In the authentic sources, there is no  sign after  in bar 235. It is probably an oversight, quite frequent at the end of a page (bar 236 is the last one on the page in A). The moment of pedal release was specified in EE, which, however, is almost certainly a routine revision. According to us, a different scenario is also possible: the  sign in bar 237 was written in A by mistake, without taking into account the context of the previous bars, based on the same chord. Performing bars 235-237 with one pedal sounds natural and is compatible with the   signs, improving the ascending and descending shape of the figuration in the R.H. Due to this reason, in the main text we leave the inclusion of pedal change at the beginning of bar 237 to the discretion of the performer.

category imprint: Differences between sources; Editorial revisions

issues: EE revisions , No pedal release mark

b. 260

composition: Op. 21, Concerto in F minor, Mvt III

No sign in A

No sign in A

 in GE (→FE→EE)
..

The absence of  in A must be an oversight – it is the last bar on the page in A, which is conducive to various types of inaccuracies of notation. The sign was added already in GE1 (→FE→EE, →GE2), perhaps at Chopin's request.

category imprint: Differences between sources

issues: Authentic corrections of GE , No pedal release mark

b. 260

composition: Op. 21, Concerto in F minor, Mvt III

..

Looking at the notation of the L.H. in A, one can see that the  sign is written under a1, the 1st note of the triplet on the 2nd beat of the bar, whereas the  sign under g1, the 2nd note. According to us, Chopin was writing pedal change while looking at the R.H., since the change is undoubtedly related to the appearance of a new trilled note. Due to this reason, we interpret the pedalling of A in the main text in this way.

category imprint: Graphic ambiguousness

issues: Inaccuracies in A