mUltimate Chopin

Op. 21, Concerto in F minor, Mvt III

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Pedalling

b. 4-28

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

 in bar 12 in A (→GE→FE)

  in bar 12 in EE

Pedalling in bars 4, 12 & 28 suggested by the editors
..

The missing pedalling in bars 4 and 28 seems to be an inaccuracy of notation. In the first two bars, Chopin characteristically diversifies the performance – with or without pedal – depending on whether the crotchets creating a spread chord can be held with hand or not. It is possible that he considered the use of the same pedalling two bars further to be obvious (cf. the adjacent note). In the recapitulation (bars 325-336), respective bars appear twice (bars 328 and 336), both times with pedalling. The  sign is also in bar 12, which confirms that performing those bars without pedal was not Chopin's intention. Therefore, in the main text we suggest adding both the  sign in bar 12 and both signs in bars 4 and 28.

category imprint: Editorial revisions

issues: EE revisions , Authentic corrections of GE , Inaccuracies in A

b. 26

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

 in A

  in GE (→FE→EE)
..

Same as in bar 12, the missing  sign in A is most probably an inaccuracy. The sign was added already in GE (→FE→EE), perhaps at Chopin's request.

category imprint: Differences between sources

issues: Authentic corrections of GE , No pedal release mark

b. 96

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

No sign in A

 in GE (→FE→EE)

Our alternative suggestion

Our variant suggestion
..

The  sign, overlooked in A, could have been added in GE (→FE→EE) by Chopin. However, it is uncertain, and it seems to be possible that Chopin, in the descending part of the passage, could have been thinking of the pedalling he wrote in bar 88. Therefore, in the main text we give two pedalling proposals to choose from – an analogous to bar 88 in square brackets and the one added in GE1, in brackets.

category imprint: Differences between sources; Editorial revisions

issues: Authentic corrections of GE

b. 117-120

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

No  in A (→GE→FE)

 at end of bar 117 in EE

[] suggested by the editors
..

The absence of the  sign in A (→GE→FE) can be a mere oversight, related to the transition to a new page in A (from bar 119). It is also possible that Chopin omitted this sign due to the use of the so-called diminuendo pedal (gradual release of pedal) – cf. e.g. the 1st mov., bar 300. The  sign added in EE is almost certainly inauthentic – cf. authentic pedalling in bars 93-94 and 109-110 (and even 85-86). Taking into account the fact that the chord in the discussed bars, being the base of the passage, does not change after two bars, we deem it to be likely that Chopin had in mind a situation in which the sound would die away longer, sustained with pedal, which is expressed by the addition of a  sign suggested by us in bar 120.

category imprint: Differences between sources; Editorial revisions

issues: EE revisions , No pedal release mark

b. 167-168

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

 in A & GE2

No pedalling in GE1 (→FE→EE)

 & [], our variant suggestion
..

In A, Chopin did not specify – consciously or not – the moment of pedal release. We suggest two possible pedalling solutions for this place in the main text. No  sign must be an oversight of the engraver of GE1 (→FE→EE).

category imprint: Differences between sources

issues: GE revisions , No pedal release mark