Op. 2, Variations in B♭ major
Op. 10, 12 Etudes
Op. 11, Concerto in E minor
Op. 21, Concerto in F minor
Op. 22, Polonaise in E♭ major
Op. 24, 4 Mazurkas
Op. 25, 12 Etudes
Op. 26, 2 Polonaises
Op. 27, 2 Nocturnes
Op. 28, 24 Preludes
Op. 30, 4 Mazurkas
Op. 35, Sonata in B♭ minor
Op. 50, 3 Mazurkas
Op. 63, 3 Mazurkas
Op. 64, 3 Waltzes
Op. 28 No. 11, Prelude in B major
The crossing-out in the L.H. part visible in A allows us to decipher the initial version of the 2nd crotchet of the bar as an arpeggiated F
-a tenth. According to us, the pedalling markings added in the 2nd half of the bar were related to the wide L.H. span of that version. After changing the tenth to a third, Chopin left the pedalling markings (not necessary in terms of harmony); he could have assumed that pedal would enrich the sound of this final dominant chord (provided with an accent!) regardless of the span of the chord, be it small or big.
Compare the passage in the sources »
category imprint: Corrections & alterations; Source & stylistic information
issues: Corrections in A, Deletions in A, Accompaniment changes
notation: Pitch