mUltimate Chopin

Op. 11, Concerto in E minor, Mvt II

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Pedalling

b. 101

composition: Op. 11, Concerto in E minor, Mvt II

No sign in FE (→EE,GE1→GE2)

 in GE3

[] suggested by the editors
..

Like in analogous bars 50-52, the pedal release moment from bar 99 we suggest (compliant with the indication introduced in GE3) allows for maintaining the dying sound of the broadly broken G major chord until the end of the phrase. In this case, one can also, according to us, imagine an even longer pedal hold, e.g. to the end of the 3rd beat of bar 101 or even to the end of bar 103. 

category imprint: Differences between sources; Editorial revisions

issues: GE revisions , No pedal release mark

b. 102

composition: Op. 11, Concerto in E minor, Mvt II

Fingering written into FEH

No teaching fingering
..

category imprint: Differences between sources

issues: Annotations in teaching copies , Annotations in FEH

b. 108

composition: Op. 11, Concerto in E minor, Mvt II

 under 6th triplet in FE (→EE,GE1→GE2)

 under 5th triplet in GE3
..

The pedalling of the majority of the sources must be erroneous – the pedal must be changed in the middle of the bar, together with the change of chord (cf. bar 106). See also the note on the  marking.

category imprint: Differences between sources

issues: Inaccuracies in FE , GE revisions

b. 108

composition: Op. 11, Concerto in E minor, Mvt II

 under rest in FE (→EE,GE1→GE2)

 at end of bar in GE3
..

The mistake in the pedalling markings in the middle of this bar does not have to mean that the last  was also placed by mistake. Although another inaccuracy cannot be excluded, the difference with respect to bar 106 could have been purposeful. Therefore, in the main text we leave the version of the majority of the sources.

category imprint: Differences between sources

issues: GE revisions

b. 111

composition: Op. 11, Concerto in E minor, Mvt II

No pedal change in sources

Pedalling suggested by the editors
..

In the main text, we suggest changing pedal on the 4th beat of the bar due to the change of the bass note in the orchestral part (cellos and double-basses) from B to B. A minor harmonic blending did not have to be conspicuous on the pianos from Chopin's times. It also cannot be excluded that, while adding the pedalling, the composer did not coordinate the piano part with the orchestral part, particularly since this chromatic sequence in the bass does not appear on the first two occurrences of the theme (bars 19 and 60).

category imprint: Editorial revisions