mUltimate Chopin

Text Compare Notes Sources Description

Issues : No pedal release mark

b. 76-77

composition: Op. 11, Concerto in E minor, Mvt II

No  sign in FE (→GE,EE)

Probable interpretation

Possible interpretation

Our variant suggestion
..

The pedalling of FE seems to be incomplete – there is no musical justification for omitting the  marking in bar 76; this bar ends the line, which promotes oversights. However, it cannot be ruled out that it is the  marking in bar 77 that was written or left by mistake. Uncertain as to what Chopin's intention was, in the main text we leave the consideration of a pedal change in this place to the discretion of the performer.

category imprint: Interpretations within context; Editorial revisions

issues: Inaccuracies in FE , No pedal release mark

b. 77-79

composition: Op. 10 No 1, Etude in C major

No pedalling in CLI

 in FE (→EE2)

  in GE & EE3 (→EE4)
..

In the main text we give the  sign visible in FE (→GE,EE) in bar 77. However, we do not include the  sign in bar 79, most probably added by revisers of GE and EE3 (→EE4). Leaving the end of a piece without the pedal release mark is quite often in Chopin's pieces and can offer some performance suggestions, cf., e.g., Etudes No. 7-9 or Nocturnes, Op. 27.  

category imprint: Differences between sources

issues: EE revisions , GE revisions , No pedal release mark

b. 81

composition: Op. 45, Prelude in C♯ minor

No  in FE (→EE) & GE

Our suggestion
..

We propose to add the  mark, as it cannot be excluded that Chopin omitted it incidentally.

category imprint: Editorial revisions

issues: No pedal release mark

b. 81

composition: Op. 35, Sonata in B♭ minor, Mvt II

 in GC (→GE)

No sign in FE (→EE)
..

The  sign was added in GC (→GE) probably by Chopin. It can be assumed that it indicates sustention of pedal throughout four bars.

category imprint: Differences between sources

issues: No pedal release mark

b. 81-83

composition: Op. 28 No. 15, Prelude in D♭ major

in A

No markings in FC (→GE)

  in FE (→EE)

 []  [], our variant suggestion
..

The release of the pedal indicated at the beginning of b. 81 was not marked in A. It could have been intended by Chopin, since wherever a gradual pedal release sounds good, Chopin would often forgo the  mark (cf., e.g. the Waltz in C Minor, Op. 64 No. 1, b. 15 or the Concerto in F Minor, Op. 21, 3rd mov., b. 117-120). On the other hand, the likelihood of an oversight of  is quite high due to the layout of A – the next pedalling marking and b. 83, which precedes it, are in the next line, which promotes various inaccuracies. In practice, the pedal could be released both analogously to b. 77, hence before the 4th beat of the bar, and at the end of b. 83. The latter actually does not require any further additions, hence the two [] marks in b. 81 and 83 suggested in the main text indicate, respectively, the shortest and longest possible pedal, not naturally resulting from the Chopinesque notation.
No pedalling markings at all in these bars is most probably an oversight of FC (→GE). In turn, the  mark added in FE (→EE) by analogy with b. 77 is almost certainly inauthentic, since Fontana rather did not consult the corrections he performed in FE1 with Chopin. 

category imprint: Differences between sources

issues: FE revisions , No pedal release mark