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Op. 44, Polonaise in F♯ minor

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Pedalling

b. 165

composition: Op. 44, Polonaise in F♯ minor

No markings in GE & EE2 (→EE3)

 in FE (→EE1), literal reading

  in FE, possible interpretation
..

The  mark in FE (→EE1) must be a mistake; however, it is unclear whether the pedalling was supposed to be indicated here but was implemented inaccurately or whether the mark was placed here by mistake. If the former were true, the position of the mark would require a correction, and a  would have to be added – Chopin could have meant here a short pedal, like the one in, e.g. b. 204. According to us, it is, however, the latter that is more likely, hence in the main text we follow GE and do not include this mark. A similar solution was also adopted by EE2 (→EE3).

category imprint: Differences between sources

issues: Inaccuracies in FE , No pedal release mark

b. 181-182

composition: Op. 44, Polonaise in F♯ minor

    in GE

No markings in FE (→EE)
..

The missing pedal markings in FE (→EE) do not seem to be an oversight, since the same situation can be observed in analogous b. 240-241, and the likelihood of the same mistake being made in two analogous places is negligible. It means that the markings were added to #A later – after [FC] had been finished – hence the discrepancy between the sources.

category imprint: Differences between sources

b. 184-185

composition: Op. 44, Polonaise in F♯ minor

in bar 184 in GE

in bar 185 in FE (→EE)

Our variant suggestion
..

According to us, both source versions of pedal markings are most probably authentic. The shorter pedal of GE corresponds to the pedalling of analogous b. 139 and 159. In turn, the longer pedal of FE (→EE) includes, as it seems, the R.H. part register, in this bar significantly higher than in the remaining analogous places, as a result of which it is also a longer pedal that sounds clean.

category imprint: Differences between sources; Editorial revisions

b. 196-197

composition: Op. 44, Polonaise in F♯ minor

No markings in GE

Pedalling in FE (→EE)
..

The absence of pedal markings in these bars does not have to result from an oversight (by the engraver or by Chopin in [A]). The R.H. descends the lowest here, and Chopin could have considered that mixing melodic notes would be too perceptible (and striking). On the other hand, there is no particular reason to question the authenticity of the markings of FE (→EE), which could have been added in the stage of proofreading or to [FC]. Therefore, in the main text we give the indications of the principal source, while the version of GE may be considered a variant or a suggestion for a more discreet pedalling, shorter or shallower.

category imprint: Differences between sources

b. 198

composition: Op. 44, Polonaise in F♯ minor

No pedalling in GE

in FE (→EE1)

    in EE2 (→EE3)

( ), our variant suggestion
..

The absence of pedal markings in this bar does not seem to be a mistake of GE – a typical Chopinesque harmonic pedal is not indispensable here, since all notes that are supposed to be heard are held with fingers. In this situation, the lonely  mark of FE (→EE1) may be interpreted in many different ways, e.g. as a mistake (by the engraver or even by Chopin in the basis for FE or while proofreading FE1) or an inaccuracy (overlooked ). A  mark was added in EE2 (→EE3) by analogy with similar b. 139 and 159, which, considering that the situation in the discussed bar is different, does not have to be an apt revision. Taking into account the above, in the main text we suggest a variant solution, made of the version of GE and the supplemented version of FE.

category imprint: Differences between sources; Editorial revisions

issues: EE revisions , No pedal release mark