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Op. 12, Variations in B♭ major

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Pedalling

b. 29-32

composition: Op. 12, Variations in B♭ major

..

The absence of a  at the end of a piece (in this case, Introduction) is quite a frequent phenomenon in Chopin's works. Generally, it means that the pedal should be pressed throughout the entire final fragment or that it should be gradually released (the so-called diminuendo pedal). According to us, in the discussed case, holding the pedal pressed to the end results in a very good sound effect; alternatively, the pedal can be gradually released throughout bar 31 to be pressed again (optionally) in bar 32.

category imprint: Source & stylistic information

issues: No pedal release mark

b. 70

composition: Op. 12, Variations in B♭ major

No pedaling markings in FE (→GE,EE)

[ ] suggested by the editors
..

In the main text we suggest supplementing the pedalling after a similar situation in bar 80.

category imprint: Editorial revisions

b. 71

composition: Op. 12, Variations in B♭ major

 under e in FE

at end of bar in GE & EE
..

The fact that the  asterisk was placed farther in GE and EE resulted from the erroneous alignment of the e quaver in FE – see the note above. In the main text we keep the synchronisation present in FE, that is a pedal release on this quaver, in accordance with the harmonic sense.

category imprint: Graphic ambiguousness; Differences between sources

issues: Inaccuracies in GE , EE inaccuracies

b. 73

composition: Op. 12, Variations in B♭ major

No pedalling in FE (→GE,EE)

[ ] suggested by the editors
..

In the main text we suggest supplementing the pedalling after analogous bar 71.

category imprint: Editorial revisions

b. 84

composition: Op. 12, Variations in B♭ major

 in FE

No markings in GE & EE

[]   suggested by editors
..

The lonely  sign visible at the beginning of bar 85 in FE, devoid of the preceding  sign, was considered in GE and EE to be a mistake and omitted. However, it is more likely that the mistake consisted in omitting the  sign, which we add in the main text in the only place resulting in an effect in which the sounds of various registers overlap, creating one harmony (an effect typical of Chopin). At the same time, we move  to the end of bar 84, which does not change its meaning but enhances the clarity of markings.

category imprint: Differences between sources; Editorial revisions

issues: EE revisions , Errors in FE , GE revisions