mUltimate Chopin

Op. 50 No. 1, Mazurka in G major

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Pedalling

b. 85

composition: Op. 50 No. 1, Mazurka in G major

in A1 (→FE→EE)

in GE
..

In the main text we give the more cautious pedalling of GE, probably later and compliant with the indication in b. 77. However, the version of the remaining sources, allowing for a longer echo of the bass D, may be considered to be a variant.

category imprint: Differences between sources

b. 89

composition: Op. 50 No. 1, Mazurka in G major

No pedalling in sources

Pedalling suggested by the editors
..

In the main text we suggest adding the pedalling after analogous b. 93.

category imprint: Editorial revisions

b. 91

composition: Op. 50 No. 1, Mazurka in G major

Short pedal in A1 (→FE→EE)

Longer pedal in GE

Our variant suggestion
..

The shorter pedal in A1 guarantees the clarity of the harmonic sequence and does not intermingle the c1-b semitone. On the other hand, the longer pedal in GE offers a fuller sound and preserves the bass note. Since the advantages and disadvantages of both versions are equal, in the main text we suggest a variant solution.

category imprint: Differences between sources; Editorial revisions

b. 92-96

composition: Op. 50 No. 1, Mazurka in G major

No marking in sources

[] suggested by the editors
..

In b. 92 and 96 the Chopinesque pedalling does not take into account the cluster of the g1 delay with its f1 resolution in any of the sources. Therefore, the composer treated those places differently than in b. 91 and analog. It is difficult to say what the reason for that decision was, whether it was a later introduction of those two delays (see b. 96), a slightly higher register, which caused that the resulting semitone was less noticeable, or another factor. Anyway, in the main text we suggest a notation analogous to the one used in that group of bars. From the practical point of view, the best solution seems to be a pedal change on the 2nd beat of the bar combined with 'harmonic legato' in the L.H., i.e. holding d1 and a with fingers until the pedal change. 

category imprint: Editorial revisions

b. 93

composition: Op. 50 No. 1, Mazurka in G major

  in A1 (→FE→EE)

No markings in GE

( ) suggested by the editors
..

In the main text we suggest – in a variant form – the pedalling entered into A1 (→FE→EE). According to us, the articulation of the beginning of the L.H. motif, which is different in GE, shall not prevent the use of that pedalling. In GE there are also no pedalling markings in b. 95, which suggests the composer's three-bar moment of distraction at the time of writing [A2].

category imprint: Differences between sources; Editorial revisions