Pedalling
b. 418-420
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composition: Op. 11, Concerto in E minor, Mvt I
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In bars 418-419 and 420, Fontana recalls the fingering scheme of a characteristic figure in the L.H., marked in EE already in the previous phrase. category imprint: Differences between sources issues: EE revisions |
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b. 456
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composition: Op. 11, Concerto in E minor, Mvt I
category imprint: Differences between sources |
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b. 471
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composition: Op. 11, Concerto in E minor, Mvt I
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In the majority of the sources, the mark is placed inaccurately, although it is unclear what the reason for it was (cf. a more explicit situation in the previous bar). In the main text, we consider the revision of GE3 to be correct (but see the next note). category imprint: Differences between sources; Editorial revisions issues: Inaccuracies in FE , GE revisions |
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b. 471
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composition: Op. 11, Concerto in E minor, Mvt I
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The pedalling of GE3 could be possible, cf. the Scherzo in B minor, op. 31, bars 334-335 and analog., but in this case, there is no reason to doubt the authenticity of the mark in the remaining editions. category imprint: Differences between sources issues: GE revisions |
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b. 479-480
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composition: Op. 11, Concerto in E minor, Mvt I
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The missing mark may have resulted from Chopin's inadvertence; however, it is also possible that the composer left the task of finding the right moment to release pedal to the discretion of the performer. According to us, pedal is to be held at least until the beginning of bar 479 and rather not longer than until the beginning of bar 480, which is suggested by two marks [], proposed in the main text. category imprint: Editorial revisions issues: No pedal release mark |