Pedalling
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b. 201-204
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composition: Op. 21, Concerto in F minor, Mvt III
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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 |
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b. 235
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composition: Op. 21, Concerto in F minor, Mvt III
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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 |
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b. 236-237
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composition: Op. 21, Concerto in F minor, Mvt III
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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 |
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b. 260
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composition: Op. 21, Concerto in F minor, Mvt III
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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 |
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b. 260
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composition: Op. 21, Concerto in F minor, Mvt III
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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 |
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