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Op. 27 No 2, Nocturne in D♭ major

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Pedalling

b. 23

composition: Op. 27 No 2, Nocturne in D♭ major

Change of pedal on e in A (→GE2)

No change of pedal in GE1 (→FE→EE)
..

The change of pedal written in A is surely connected with the use of "harmonic legato".

category imprint: Differences between sources

issues: Errors in GE

b. 25

composition: Op. 27 No 2, Nocturne in D♭ major

 in the middle of the semiquaver grouping in A

 closer to the end of the grouping in GE (→FE→EE)
..

The pedal use in GE (→FE→EE) probably results from inaccurate reconstruction of the notation of A. Still, Chopin did not change it, only corrected the contour of the accompaniment in that bar, which may mean that he considered that pedalling acceptable.

category imprint: Differences between sources

issues: Inaccuracies in GE

b. 45-48

composition: Op. 27 No 2, Nocturne in D♭ major

No pedalling in A (→GE)

Pedalling added in  FE (→EE)
..

In A (→GE) pedalling stops in bar 45 (Chopin began to write it in again halfway through bar 57). In the proofing of FE (→EE) Chopin supplemented the markings in bars 45-52.

category imprint: Differences between sources; Corrections & alterations

issues: Authentic corrections of FE

b. 49-52

composition: Op. 27 No 2, Nocturne in D♭ major

Pedalling in FE (→EE)

No pedal marks in A (→GE)
..

Chopin added pedal markings when proofing FE (-EE).

category imprint: Differences between sources

issues: Authentic corrections of FE

b. 57

composition: Op. 27 No 2, Nocturne in D♭ major

No  mark in A (→GE→FE)

 in EE

The editors'  suggestion
..

After the  mark placed mid-bar, A (→GE→FE) do not have . This is probably Chopin's oversight (bar. 57 is the last bar on the page in A, and such a situation is conducive to all types of mistakes and inaccuracies); therefore, we propose supplementation of pedal markings. The pedal release asterisk was added in that place already in EE.

category imprint: Differences between sources; Editorial revisions

issues: No pedal release mark