mUltimate Chopin

Op. 25 No 5, Etude in E minor

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Pedalling

b. 27

composition: Op. 25 No 5, Etude in E minor

 in FC (→GE) & EE

 in FE
..

In this type of context, the moment of the pedal's release is quite often indicated by Chopin in different places (or is not indicated at all), which probably means that he was thinking of a gradual attenuation of sound (the so-called diminuendo pedal). In the main text we give the sign on the basis of FE.

category imprint: Differences between sources

b. 35-36

composition: Op. 25 No 5, Etude in E minor

No pedalling in FC (→GE)

Pedalling in FE, contextual interpretation

Pedalling in EE
..

In the main text, we give the most accurate pedalling of FE, probably added in the proofreading of this edition. At the end of bar 36, we add the  sign, which did not fit into FE due to the very dense layout of the text on the page. The indications of EE are certainly inaccurate, although it is hard to state how it occurred.

category imprint: Differences between sources

issues: Inaccuracies in FE , EE inaccuracies

b. 57-58

composition: Op. 25 No 5, Etude in E minor

No markings in FC (→GE) & EE

Pedalling in FE
..

The pedalling indications, appearing only in FE, could have been added in the proofreading of this edition.

category imprint: Differences between sources; Corrections & alterations

issues: Authentic corrections of FE

b. 88

composition: Op. 25 No 5, Etude in E minor

 in FC (→GE) & EE

 in FE

our alternative variant suggestion
..

The later pedal's release (change), transferred accordingly by FC (→GE) and EE, was changed by Chopin in the proofreading of FE (one can see traces of deletion of the  sign before the 3rd beat of the bar). Alternatively, we suggest a notation including both authentic pedalling in the variant form.

category imprint: Differences between sources; Corrections & alterations

issues: Authentic corrections of FE

b. 100-107

composition: Op. 25 No 5, Etude in E minor

No markings in FC (→GE) & EE

Pedalling in FE
..

Chopin added the pedalling in bars 100-101 and 105-107 probably in the proofreading of FE (similarly in bars 108-111). This kind of evident additions were performed by the composer in, e.g., the Etude in A minor, No. 5, bars 54 and 58-61.

category imprint: Differences between sources; Corrections & alterations

issues: Authentic corrections of FE