mUltimate Chopin

Op. 42, Waltz in A♭ major

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Pedalling

b. 273-276

composition: Op. 42, Waltz in A♭ major

No pedalling in FE0 (→EE) & FEG (→GE)

Pedalling in FE1
..

As in bar 261 Chopin wrote the pedalling in those bars only in the proofs of FE.

category imprint: Differences between sources; Corrections & alterations

issues: Authentic corrections of FE

b. 277-280

composition: Op. 42, Waltz in A♭ major

No pedalling in FEG (→GE)

Pedalling in FE & EE
..

Concurrent and undoubtedly authentic pedalling comes from FE & EE.

category imprint: Differences between sources; Corrections & alterations

issues: Authentic corrections of FE , Authentic corrections of EE

b. 280

composition: Op. 42, Waltz in A♭ major

No sign in FEG (→GE)

 in EE

 in FE
..

In FE1 the  sign was placed after the 2nd crotchet, which may be a result of a misinterpretation of Chopin's notation by the engraver – cf. three preceding bars.

category imprint: Differences between sources

b. 281

composition: Op. 42, Waltz in A♭ major

 in FEG, FE & EE

No sign in FE0 & GE
..

The last  mark in the Waltz was added by Chopin in FE and EE. The composer also wrote it into FEG (as a unique pedal marking), but the mark was not included in GE.

category imprint: Differences between sources; Corrections & alterations

issues: Errors in GE , Authentic corrections of FE , Authentic corrections of GE , Authentic corrections of EE

b. 287

composition: Op. 42, Waltz in A♭ major

No sign in FEG (→GE)

 in FE

 in EE
..

In EE the pedal release mark was placed slightly earlier, after the 1st crotchet. To the main text we adopt the notation of FE, where the sign was placed after the last rest. The lack of sign in FEG, though not infrequent at the end of Chopin's works, in this case should be regarded as an imprecision.

category imprint: Differences between sources

issues: Authentic corrections of FE , Authentic corrections of EE