mUltimate Chopin

Op. 25 No 1, Etude in A♭ major

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Pedalling

b. 1-2

composition: Op. 25 No 1, Etude in A♭ major

 in AI

No markings in A (→GE), FE & EE
..

The pedal change written in AI was deleted in A.

category imprint: Differences between sources; Corrections & alterations

issues: Deletions in A

b. 1

composition: Op. 25 No 1, Etude in A♭ major

 in bar 1 in AI, FE & EE

 from anacrusis in A (→GE)
..

It is not clear whether according to Chopin the  mark refers to the crotchet of the upbeat or to the entrance of the L.H. Similar marks in bars 4, 5, 8, 12, 16 (of these on the 1st page of A) are written clearly before the note they concern, which would point to the second possibility. Such pedalling is given by FE and EE. In the main text we adopt the interpretation of GE – pedal from the upbeat:

  • it is compatible with the literal interpretation of A – the  mark fits entirely before the bar line, while it begins even slightly before the crotchet rest,
  • such pedalling is natural both in terms of sound and piano technique,
  •  and  marks are in a similar place in A, while the dynamic indication is certainly binding from the beginning of the piece.

category imprint: Graphic ambiguousness; Differences between sources

b. 4

composition: Op. 25 No 1, Etude in A♭ major

 in AI

No markings in A (→GE), FE & EE
..

The pedal change written in AI was overlooked in A. Cf. bar 1.

category imprint: Differences between sources; Corrections & alterations

b. 7

composition: Op. 25 No 1, Etude in A♭ major

 in AI

No markings in A (→GE), FE & EE
..

The pedal change written in AI was overlooked in A. Cf. bar 1.

category imprint: Differences between sources; Corrections & alterations

b. 7

composition: Op. 25 No 1, Etude in A♭ major

 in AI, GE, FE & EE

Earlier  in A
..

The corrections of placing the  sign at the end of the bar, visible in A, do not prove, according to us, an intention of an earlier pedal release in this place. Chopin most probably wrote the sign already after the bar line (at the end of the line) and, in order to avoid misunderstandings, he wanted to place it precisely at the end of the bar, yet, as a result of deletions, an illegible inkblot was created. Considering the harmonic pedalling including the entire beats of the bar to be obvious, the composer wrote the necessary sign slightly earlier, at a safe distance from – probably fresh – stain. In GE, the sign was reproduced at the end of the bar and it is also AI, FE and EE that prove the correctness of this way of placement.

category imprint: Differences between sources; Corrections & alterations

issues: Deletions in A