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Op. 30 No. 4, Mazurka in C# minor

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Pedalling

b. 5-8

composition: Op. 30 No. 4, Mazurka in C# minor

Pedalling in FC (→GE)

in b. 5 in FE (→EE)
..

In FE the pedalling of these bars is indicated in general terms with a  mark at the beginning of the phrase. Initially, a similar situation was in FC, in which, however, Chopin specified this aspect of performance by adding the remaining markings.

category imprint: Differences between sources; Corrections & alterations

issues: No pedal release mark , Authentic corrections of FC

b. 31-32

composition: Op. 30 No. 4, Mazurka in C# minor

No markings in FC (→GE)

    in FE (→EE)
..

In the main text we give the pedalling added most probably by Chopin in the stage of proofreading FE (→EE) – see the note above.

category imprint: Differences between sources; Corrections & alterations

issues: Authentic corrections of FE

b. 35-38

composition: Op. 30 No. 4, Mazurka in C# minor

..

In these bars the pedalling in FC was added by Chopin. As it is also present in FE, Chopin most probably added it later also while proofreading FE. In this entire theme (bars 33-64) the pedalling in the basis for FC, that is [A], was marked only in 4 bars – bars 33-34 and 39-40.

category imprint: Corrections & alterations; Source & stylistic information

issues: Authentic corrections of FE , Authentic corrections of FC

b. 46-48

composition: Op. 30 No. 4, Mazurka in C# minor

in FC (→GE)

in b. 48 in FE (→EE)

Our variant suggestion
..

Such differences, sometimes significant, in the notation of pedal release can be found in Chopin's pieces a few times, mainly in the context of dissonant melodic elements overlapping the dying sound of the bass note, e.g. in the Barcarolle, Op. 60, bar 115 or in the Prelude in C minor, Op. 45, bars 5-6 and analog. On the basis thereof, one could assume that Chopin meant gradual pedal release, the so-called diminuendo pedal, in the case of which it is impossible to define the exact moment the pedal should be released (in other similar situations Chopin did not put a  mark after a  mark at all, e.g. in the Nocturne in F minor, Op. 48 No. 2, bars 112-114). Taking into account the above, in the main text we give both source  marks, regarding them not as an alternative, but as extreme possibilities between which one can look for one's own sonically satisfying solution. 

category imprint: Differences between sources

issues: Authentic corrections of FE , Authentic corrections of FC

b. 49-52

composition: Op. 30 No. 4, Mazurka in C# minor

..

The pedalling in bars 49-52 and further on (to bar 61) in FC was added by Chopin. Therefore, the composer must have also added it while proofreading FE.

category imprint: Source & stylistic information

issues: Authentic corrections of FE , Authentic corrections of FC