mUltimate Chopin

Text Compare Notes Sources Description

Issues : No pedal release mark

b. 368

composition: Op. 2, Variations, complete

No sign in sources

[] suggested by the editors
..

The missing  asterisk in the sources does not have to be Chopin's oversight. In such descending figurations preceded with a bass note, we often encounter notation without this mark, which suggests that the composer resorted to such notation either when he did not want to specify the moment the pedal should be released or when he could not decide on one of the versions, cf., e.g. the Etude in D, Op. 25 No. 8, bars 19-20, 27 or the Waltz in C minor, Op. 64 No. 2, bars 15-16. On the other hand, there is a number of places (e.g. among the above examples) in which Chopin added a  mark in some sources, probably to avoid a too long or a too short pedal. Guided by similar motives, in the main text we indicate a possible pedal release in a place in which the shape of the L.H. figuration changes, thus exposing the bass line more clearly (according to Chopin's intention probably gradually, which is indicated by the subsequent change of notation in bar 370).

category imprint: Editorial revisions

issues: No pedal release mark

b. 369-371

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

No markings in FE (→GE1→GE2)

​​​​​​​ in EE

  ​​​​ in GE3

[  ​​​​ ] suggested by the editors
..

An isolated  mark left at the beginning of bar 369 is almost certainly an oversight. Due to harmonic reasons, the pedal must be changed before bar 370, whereas performing any of the brilliant passages without pedal is inconceivable in this eventful fragment. Bar 360 opens a new page in FE, which favours such inaccuracies. Therefore, in the main text we add both a ​​​​​​​ mark at the end of bar 369 and a two-bar pedal in bars 370-371. The former was introduced already in EE, while GE3 introduced both.   

category imprint: Editorial revisions

issues: EE revisions , Inaccuracies in FE , GE revisions , No pedal release mark

b. 383-384

composition: Op. 39, Scherzo in C♯ minor

Pedalling in EE

No  in GC (→GE)

No pedalling in FE
..

Only in EE there is a pedal up mark at the end of b. 384, this may have been an editorial revision. In FE there are no pedal markings in these bars, which may have been the engraver's omission as there is  in a corresponding bar t. 41.

category imprint: Differences between sources

issues: No pedal release mark

b. 390

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

No  in FE

 before 5th quaver in GE

 after 6th quaver in EE

 suggested by the editors
..

In FE, the missing  after the  mark in bar 389 is most probably an oversight (of Chopin or of the engraver), since there are no reasons for the notation to deviate from the remaining, similar fragments. The mark was added already in GE and EE. See also bars 394-395.

category imprint: Differences between sources; Editorial revisions

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

b. 398

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

No sign in FE (→GE1→GE2)

 in EE & GE3

[] suggested by the editors
..

The missing ​​​​​​​ mark was probably unintended by Chopin. The addition we suggest is justified by the authentic pedalling of other fragments of a similar texture, e.g. bars 155-161. An identical addition was introduced in EE and GE3.

category imprint: Differences between sources; Editorial revisions

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