mUltimate Chopin

Op. 10 No 5, Etude in G♭ major

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Pedalling

b. 28-32

composition: Op. 10 No 5, Etude in G♭ major

No pedalling in A

Pedalling in FE (→EE,GE1→GE2)

GE3 (→GE4→GE5)

Our suggestion
..

Chopin added the pedalling in a proofreading of FE. The  mark, overlooked in bar 28, was added in GE3 (→GE4→GE5), yet too early, as it seems; the reviser probably did not notice that despite a different notation, the bass note remains unchanged during the entire bar. The addition we perform includes the authentic pedalling from the previous bar. See also bars 32-36. 

category imprint: Interpretations within context; Differences between sources

issues: Errors in FE , GE revisions , Authentic corrections of FE , No pedal release mark

b. 32-36

composition: Op. 10 No 5, Etude in G♭ major

Pedalling in A (→FE→GE1,EE)

GE2

GE3 (→GE4→GE5)
..

The four-bar pedal in bars 33-36 was already written in A (→FE→EE). The  mark, which in FE (→GE1) obviously concerns the beginning of bar 33, placed before the A1-A minim in spite of lack of space, was entirely moved to bar 32 in GE2 and further ones, which suggests an erroneous performance. In addition, in GE3 (→GE4→GE5) the  mark in bar 36 was omitted.

category imprint: Differences between sources

issues: Inaccuracies in GE

b. 41-44

composition: Op. 10 No 5, Etude in G♭ major

No pedalling in A

Pedalling in FE (→GE,EE)
..

The pedalling was added by Chopin in a proofreading of FE (→GE,EE).

category imprint: Differences between sources

issues: Authentic corrections of FE

b. 45-46

composition: Op. 10 No 5, Etude in G♭ major

No pedalling in A

Pedalling in FE (→GE,EE)
..

The pedalling was added by Chopin in a proofreading of FE (→GE,EE).

category imprint: Differences between sources

issues: Authentic corrections of FE

b. 47

composition: Op. 10 No 5, Etude in G♭ major

No pedalling in A

Pedal in FE

Pedal in GE

EE
..

The pedalling added by Chopin in a proofreading of FE is inaccurate – the  mark is between the first two quavers, so we do not know which one it concerns (there is no  mark at all). In GE and EE the  mark was moved (in a different way), so that the moment of depressing the pedal did not raise major doubts – both solutions may be considered as justified suggestions of guessing Chopin's intention. In the main text we prefer the interpretation adopted in EE, as in Chopin's manuscripts the arrangement of the  mark before the note is much more frequent than after it (most frequently it is certainly under the note). 

category imprint: Differences between sources

issues: Inaccuracies in FE , Authentic corrections of FE , No pedal release mark