The pedalling of these bars is inaccurately written in some of the sources. The pedal beginning in GC (→GE) on the 2nd beat of bar 13 and held for three crotchets is a patent error due to a harmonically unjustified mix of sound of the tonic and dominant chord. The copyist most probably overlooked the change of pedal on the 3rd beat of bar 13, yet it is also possible that the 
sign is placed in GC in a simply inaccurate manner and was supposed to concern only the 3rd beat of the bar (a pedal on the 2nd beat could have been added in [A] later (→FE→EE), after the copy had been already prepared). It also cannot be excluded that it is the unclear (corrected?) notation of [A] that caused a discrepancy in the sources based on it. It also undermined the version of FE, as despite the harmonic correctness, it is problematic from the pianistic and sound point of view, particularly in a faster tempo – a satisfactory effect, very close to the one which in these motifs is given by the change of pedal on the 2nd beat of the bar, can be achieved by releasing the pedal just after ending the arpeggio of the chord in the L.H., which is a justified way of interpretation of the notation in bars 12, 14 and analog. and which is by far more comfortable. This is how the pedalling in similar bars 32-34 – without any doubts – is marked. An inaccuracy is probably also the oversight of the 
sign in bar 14 in GE, although the text benefited from it, as the indication became general instead of misleading.
Taking into account the above doubts concerning the pedal on the 2nd beat of bar 13, in the main text we leave its use at the discretion of the performer.
Compare the passage in the sources »
category imprint: Interpretations within context; Differences between sources
issues: Errors in GE, Inaccuracies in GC
notation: Pedalling
