Pedalling
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b. 3-8
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composition: WN 29, Waltz in E minor
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The missing category imprint: Differences between sources; Editorial revisions issues: GE revisions |
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b. 9-24
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composition: WN 29, Waltz in E minor
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A comparison with the autographs of other Chopinesque Waltzes – except the non-finished ones or intended for bases for first editions – suggests that at least some of the markings present in PE (→GE) were probably added by the reviser of the original edition. As many as almost two-thirds of the autographs do not contain any pedal indications, while in the majority of the remaining ones they are proportionally less numerous than in the sources of the Waltz in E minor. Due to the above, in the main text we omit the markings in bars 17-23, which are a repetition of bars 9-15. category imprint: Editorial revisions issues: Revisions in #PE |
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b. 41-55
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composition: WN 29, Waltz in E minor
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The pedalling present in the sources was most probably added by the reviser of PE1 preparing the publication of the Waltz – see bars 9-24. As it simply repeats the pedalling that was already entered into analogous bars 9-15, we omit it in the main text. category imprint: Editorial revisions |
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b. 65-74
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composition: WN 29, Waltz in E minor
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In bars 65-71 and 73-74 the sources contain pedal markings. In the main text we omit them, since they were previously marked in analogous bars 57-64. See also bars 75-87. category imprint: Editorial revisions |
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b. 75-87
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composition: WN 29, Waltz in E minor
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As before, in the main text we omit the pedal markings (present in the sources) that were marked earlier in analogous bars 59-71. category imprint: Editorial revisions |
in 
mark in such a harmonic, dynamic and pianistic context most probably means that the pedal should be held until the very end of the passage, which we specify in the main text with the help of a [
