Pedalling
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b. 35-36
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composition: Op. 11, Concerto in E minor, Mvt II
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The missing pedalling in these two bars must be considered Chopin's inadvertence (or the engraver's oversight). In the main text, we suggest adding the marks after similar figures, e.g. in bar 37. A similar situation in bars 85-86. category imprint: Editorial revisions |
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b. 50
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composition: Op. 11, Concerto in E minor, Mvt II
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In the main text, we suggest completing the pedalling after analogous bar 99. In this context, so typical of Chopin, omission of pedalling marks must be considered an inaccuracy. The pedalling was completed already in GE3. See also bar 52. category imprint: Differences between sources; Editorial revisions issues: GE revisions |
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b. 52
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composition: Op. 11, Concerto in E minor, Mvt II
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The moment of pedal release from bar 50 suggested by us allows for maintaining the echo of the broadly broken B major chord until the end of the phrase. Using the so-called diminuendo pedal at the end – unhurried, steady pedal release – will ensure a smooth, gradual silencing, crowning the smorzando marked by the composer. According to us, the mark in GE3, placed before the final quaver in the solo part, suggests a too early pedal release. category imprint: Differences between sources; Editorial revisions issues: GE revisions |
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b. 76-77
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composition: Op. 11, Concerto in E minor, Mvt II
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The pedalling of FE seems to be incomplete – there is no musical justification for omitting the category imprint: Interpretations within context; Editorial revisions issues: Inaccuracies in FE , No pedal release mark |
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b. 85-86
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composition: Op. 11, Concerto in E minor, Mvt II
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The absence of pedalling in these two bars must be considered Chopin's inaccuracy (or the engraver's oversight). In the main text, we suggest adding markings after similar figures, e.g. in bar 84. Cf. bars 35-36. category imprint: Editorial revisions |
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