Pedalling
b. 170-172
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composition: Op. 22, Polonaise
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One can have doubts whether holding pedal as long as to the last quaver in b. 170 and 172, like in FE, actually corresponds to Chopin's intention. The effect of the dominant and tonic chords temporarily overlapping could have been intentional; however, according to us, taking into account the pedalling markings of analogous b. 64 and 66, which are shorter and compliant with the harmonic course, one can assume that the markings in the discussed bars may be inaccurate. Due to this reason, in the main text we move the marks under the 5th quaver. category imprint: Differences between sources; Editorial revisions issues: Inaccuracies in GE , Inaccuracies in FE , EE inaccuracies |
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b. 171
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composition: Op. 22, Polonaise
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Just like in b. 27, the missing asterisk is almost certainly an inaccuracy; therefore, in the main text we add it after b. 169. The mark was added in EE as well as in GE2 (→GE3), although with a manifest error. category imprint: Differences between sources; Editorial revisions issues: Inaccuracies in FE , GE revisions |
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b. 174
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composition: Op. 22, Polonaise
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Just like in b. 30, in the main text we suggest adding pedalling markings after analogous b. 212. category imprint: Editorial revisions |
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b. 190
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composition: Op. 22, Polonaise
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Like in b. 46, of which the discussed bar is a literal repetition, we add a mark before the 3rd beat of the bar. The mark was also added, yet at the end of the bar, in GE and EE. category imprint: Differences between sources; Editorial revisions issues: EE revisions , GE revisions |
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b. 197-198
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composition: Op. 22, Polonaise
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Similarly as in b. 53-54, of which the discussed bars are a literal repetition, in the main text we suggest a [] mark, closing the pedal from the beginning of b. 197. The asterisk was also added in EE. category imprint: Differences between sources; Editorial revisions issues: EE revisions |