mUltimate Chopin

Op. 25 No 9, Etude in G♭ major

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Pedalling

b. 32

composition: Op. 25 No 9, Etude in G♭ major

No sign in GC (→GE1) & EE1

 in FE, GE1 & GE2 (→GE3)

 in GE2 (→GE3)

 suggested by the editors
..

It is likely that by introducing the  sign on the  sign in GC, Chopin wanted to extend the original, half-bar-long pedal. Due to this fact, in the main text we suggest to release the pedal only at the end of the bar; the version is included in GE2 (→GE3). In FE, GE1 and EE2 (→EE3), the pedalling embraced only the 1st half of the bar, which in the case of GE1 probably results from misunderstanding the sense of the correction described above.

category imprint: Differences between sources; Corrections & alterations

issues: Authentic corrections in GC

b. 35

composition: Op. 25 No 9, Etude in G♭ major

 in GC (→GE)

 in FE

 in EE

Our variant suggestion
..

It is hard to evaluate which placement of the  sign corresponds to the composer's intention. All three source versions can reflect the authentic notation, while the significant difference between FE and GC suggests that in the two lost manuscripts Chopin could have written the sign in two different places (the sign in GC is transcribed by the copyist). In the main text we suggest a variant solution, including the clearly varied versions of FE and GC (→GE). The bar is an example of a situation in which the pedal can be released in different places obtaining an equally good result and, moreover, the release of pedal can be performed gradually, which cannot be written with the help of the signs used by Chopin. Cf. the Etude in D major, No. 8, bars 19-20.

category imprint: Differences between sources