mUltimate Chopin

(Op. 4), Sonata in C minor, Mvt I

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Pedalling

b. 37

composition: (Op. 4), Sonata in C minor, Mvt I

No marking in A

 in GE (→FE,EE,IE)

[] suggested by the editors
..

The missing  mark is probably Chopin's inadvertence – this bar ends a page in A, while the transition to a new page often distracts the writing persons. Therefore, in the main text we indicate the pedal release point in accordance with the harmonic sense. A similar addition was already introduced by GE (→FE,EE,IE).

category imprint: Differences between sources; Editorial revisions

issues: GE revisions , No pedal release mark , Inaccuracies in A

b. 58

composition: (Op. 4), Sonata in C minor, Mvt I

 in A

  in GE (→FE,EE,IE)
..

In this harmonic and textural context, the missing  must be considered Chopin's oversight – in the section that ends here the pedalling allows to put the chord specifying the harmonic contents on the previously played bass notes, whereas starting from the next bar, the use of pedal is no longer necessary to build the sound of subsequent chords (although it is by all means possible). The mark was already added by GE (→FE,EE,IE). 

category imprint: Differences between sources; Editorial revisions

issues: GE revisions , No pedal release mark , Inaccuracies in A

b. 140-141

composition: (Op. 4), Sonata in C minor, Mvt I

No markings in A

 in GE (→FE,EE,IE)

[  ] suggested by the editors
..

Chopin stopped writing pedal marks probably due to distraction – in analogous bars 124-125 both bars include a full set of    marks, while the  mark in bar 140 is the last sign on this page of the manuscript (which ends on bar 142). Taking into account the above, in the main text we suggest supplementing the marks. The  mark in bar 140 was added already by GE (→FE,EE,IE).

category imprint: Differences between sources; Editorial revisions

issues: GE revisions , No pedal release mark , Inaccuracies in A

b. 198-200

composition: (Op. 4), Sonata in C minor, Mvt I

No markings in sources

Pedalling suggested by the editors
..

In the main text we suggest pedal markings after the analogous fragment in the exposition (bars 20-22, cf. also bars 34-36).

category imprint: Editorial revisions