Pedalling
b. 70-74
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composition: Op. 45, Prelude in C♯ minor
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The mark appears in the sources in different places between the last quaver in bar 70 and the first one in bar 71 (and similarly in bars 74-75). Those differences may derive from the not entirely precise notation of handwritten base texts of first editions, as in Chopin's autographs the notation of pedalling is sometimes ambiguous. For each of the sources we give the most probable interpretation of that detail. category imprint: Interpretations within context; Differences between sources; Editorial revisions |
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b. 75
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composition: Op. 45, Prelude in C♯ minor
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The mark in this place appears in all sources except the possibly inaccurate FE2. Due to the doubt concerning Chopin's intentions in other similar situations we consider two possible ways of pedalling in the variant form. category imprint: Interpretations within context; Differences between sources; Editorial revisions |
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b. 81
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composition: Op. 45, Prelude in C♯ minor
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We propose to add the mark, as it cannot be excluded that Chopin omitted it incidentally. category imprint: Editorial revisions issues: No pedal release mark |
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b. 84-85
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composition: Op. 45, Prelude in C♯ minor
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The pedalling, present only in GE, is probably an element of a slightly more diligent development of [A2] by Chopin. category imprint: Differences between sources |
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b. 88-89
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composition: Op. 45, Prelude in C♯ minor
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In the main text we give the pedalling of FE (→EE). The whole-bar pedalling of GE may be assumed as a result of the engraver's adopting the real notation of [A2] to the "standard" pedalling, the most frequent one in Prelude. category imprint: Differences between sources issues: Inaccuracies in GE |