Pedalling
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b. 5-6
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composition: Op. 25 No 3, Etude in F major
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According to us, the absence of pedalling indications in bars 5-6 in GC (→GE) and FE does not mean that the bars are to be performed without pedal. The deletions of the pedalling signs, visible in GC in bar 5 (as well as in bars 33, 35-36 and 47-48) prove Chopin's striving for simplicity rather than the will to differentiate the performance, e.g., bars 1-2 (with pedal) and 5-6 (without pedal). Therefore, we consider the indications of EE in the discussed bars to be valid, yet due to their absence in the remaining sources, in the main text we give them in brackets. category imprint: Differences between sources |
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b. 19
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composition: Op. 25 No 3, Etude in F major
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Omission of the pedal change on the 2nd beat of the bar in GE3 (→#GE4) combines with one pedal figures based on one harmony, which corresponds to Chopin pedalling of similar bars 21, 23 and 27, and in the broader sense also of bars 18, 20, 22 and 26. It cannot be excluded that Chopin overlooked bar 19 at the time of pedalling corrections (such corrections are visible in GC in bars 18 and 20-22; see also the note to bar 24). However, not being certain in this respect, in the main text we give the version which was actually written by Chopin. category imprint: Differences between sources issues: GE revisions |
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b. 20-22
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composition: Op. 25 No 3, Etude in F major
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In GC there are no category imprint: Differences between sources issues: Errors resulting from corrections , Inaccuracies in GC |
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b. 24
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composition: Op. 25 No 3, Etude in F major
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One can have doubts whether the additional pedal change written in GC (→GE1) is compatible with Chopin's intention. The composer deleted pedal changes in GC in similar situations on a number of occasions (see the characteristics of this copy). The compatible version of FE and EE, following in the direction of these changes, allows us to consider the fact of leaving the pedal change in this place as an inaccuracy at the time of introducing corrections. category imprint: Differences between sources issues: GE revisions , Omitted correction of an analogous place |
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b. 25
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composition: Op. 25 No 3, Etude in F major
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The pedalling of EE is undoubtedly authentic; it cannot be excluded that, same as in many other similar situations (see bar 24), combining two figures based on one harmony with pedal is a result of Chopin's reflection and correction. However, as the transposition of the music narrative one octave down appears only here in the entire section (bars 17-28), it cannot be excluded that Chopin was not entirely sure of the pedalling of this bar. Due to this fact, we leave a possible pedal change at the discretion of the performer. category imprint: Differences between sources |
signs at the end of bars 20 and 22, which, in this context, should be considered as inaccuracy. It resulted from self-corrections of Chopin, who changed the pedalling he wrote in these bars.
