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Op. 45, Prelude in C♯ minor

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Pedalling

b. 55

composition: Op. 45, Prelude in C♯ minor

No markings in FE (→EE1)

Pedalling in GE

EE2
..

Lack of pedal marks in FE (→EE1) may be an omission of the engraver of FE1 or of Chopin himself in [A1].

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category imprint: Differences between sources

issues: EE revisions , Errors in FE

b. 56-57

composition: Op. 45, Prelude in C♯ minor

No markings in FE (→EE) & GE

Our suggestion
..

We propose an addition to the authentic pedalling on the basis of analogous figures in bars 32-33.

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category imprint: Editorial revisions

b. 59-60

composition: Op. 45, Prelude in C♯ minor

No markings in FE (→EE1)

Pedalling in GE & EE2
..

The pedalling, present only in GE (and EE2), is probably an element of a slightly more diligent preparation of [A2] by Chopin. 

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category imprint: Differences between sources

b. 63-66

composition: Op. 45, Prelude in C♯ minor

 in FE1 (→EE)

 in GE

 in FE2

Our variant suggestion
..

It is hard to consider the difference in the placement of  marks in FE1 (→EE) and GE as an incidental inaccuracy. Without any doubt, both versions can be applied in practice, therefore, according to the general approach to pedalling differences in this work, we propose a variant solution. In FE2 the version of FE1 was recreated with errors.

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category imprint: Differences between sources; Editorial revisions

b. 67-74

composition: Op. 45, Prelude in C♯ minor

 in FE (→EE)

GE

Our variant suggestion
..

Placing the  mark in bars 39-40 and analogous displays consequent discrepancies between GE and FE (→EE). According to us, both pedalling concepts are authentic and can be successfully applied in performance practice. Due to that fact, we propose a text in which they are juxtaposed in the variant form.

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category imprint: Differences between sources