Page: 
Source: 
p. 2, b. 25-51
p. 1, b. 1-24
p. 2, b. 25-51
Main text
Main text
GC - Gutmann's Copy
FE - French edition
FE1 - First French edition
FE2 - Corrected reprint of FE1
FED - Dubois copy
FEJ - Jędrzejewicz copy
FES - Stirling copy
GE - German edition
GE1 - First German edition
GE1a - Another copy of #GE1
GE2 - Second German edition
GE3 - Revised impression of GE2
EE - English edition
EE1 - First English edition
EE2 - Corrected reprint of EE1
EE3 - Revised impression of EE2
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GC - Gutmann's Copy
FE - French edition
FE1 - First French edition
FE2 - Corrected reprint of FE1
FED - Dubois copy
FEJ - Jędrzejewicz copy
FES - Stirling copy
GE - German edition
GE1 - First German edition
GE1a - Another copy of #GE1
GE2 - Second German edition
GE3 - Revised impression of GE2
EE - English edition
EE1 - First English edition
EE2 - Corrected reprint of EE1
EE3 - Revised impression of EE2
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  b. 35

 in GC (→GE)

 in FE

 in EE

Our variant suggestion

It is hard to evaluate which placement of the  sign corresponds to the composer's intention. All three source versions can reflect the authentic notation, while the significant difference between FE and GC suggests that in the two lost manuscripts Chopin could have written the sign in two different places (the sign in GC is transcribed by the copyist). In the main text we suggest a variant solution, including the clearly varied versions of FE and GC (→GE). The bar is an example of a situation in which the pedal can be released in different places obtaining an equally good result and, moreover, the release of pedal can be performed gradually, which cannot be written with the help of the signs used by Chopin. Cf. the Etude in D major, No. 8, bars 19-20.

Compare the passage in the sources »

category imprint: Differences between sources

issues:

notation: Pedalling

Missing markers on sources: FED, FEJ, FES, GE1, GE1a, GE2, GE3, EE1, EE2, EE3