mUltimate Chopin

Op. 10 No 4, Etude in C♯ minor

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Pedalling

b. 51

composition: Op. 10 No 4, Etude in C♯ minor

..

The only pedalling mark written in AI is clearly related to the abandoned by Chopin concept of the initial theme's return, which started with the C1-C octave. See the adjacent note. 

category imprint: Differences between sources

issues: No pedal release mark

b. 53-61

composition: Op. 10 No 4, Etude in C♯ minor

No arpeggio signs in AI & FE (→EE2)

Two arpeggio signs in EE3

Five arpeggio signs in GE & EE4
..

According to us, the arpeggio performance of the tenth chords in bars 53 and 61 remains beyond any doubts – see bar 11.

category imprint: Differences between sources; Editorial revisions

issues: EE revisions , GE revisions

b. 79

composition: Op. 10 No 4, Etude in C♯ minor

No pedalling in AI

 in FE

GE1 (→GE2) & EE

GE3 (→GE4→GE5)
..

The  mark's placement in FE seems to be inaccurate, as depressing pedal already after the passage had started is unjustified from the point of view of the sound. Therefore, there must have been a misunderstanding in the interpretation of Chopin's notation. Both in GE1 (→GE2) and EE  was moved slightly to the left, under the quaver rest, which may be considered as an acceptable interpretation of this mark. However, most probably the pedal is to be depressed already at the beginning of the bar, as it was marked in GE3 (→GE4→GE5).

category imprint: Interpretations within context; Differences between sources

issues: Inaccuracies in FE , GE revisions

b. 82

composition: Op. 10 No 4, Etude in C♯ minor

No  in AI & FE (→EE2)

 in GE & EE3 (→EE4)
..

In FE (→EE2) there is no  mark, ending the pedal depressed in bar 79. It is quite frequently experienced in Chopin's pieces, particularly in the endings of the works. The revisers of GE and EE3 (→EE4) considered it as a mistake and added a  at the end of bar 82.

category imprint: Differences between sources

issues: EE revisions , GE revisions , No pedal release mark