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. 4), Sonata in C minor
Op. 44, Polonaise in F♯ minor
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] suggested by the editorsIn the Polonaise, harmonic accompaniments including at least one chord or a dyad in the middle register and bass (below) are generally provided with a pedal combining all those elements. After all, such a more general rule concerning elements of figuration going beyond the span of the hand being combined with pedal is to be applied in the vast majority of Chopin's works. In the Polonaise, there are only a few exceptions to that rule – the discussed place (and its repetition in b. 290), b. 38 (271), b. 65 (298) and b. 106. It gives rise to the suspicion that we are dealing with oversights, by the engraver or perhaps by Chopin himself. Taking into account the above, in those places we suggest supplementing the Chopinesque pedalling after analogous bars.
category imprint: Editorial revisions
notation: Pedalling
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