FE1
Main text
A - Autograph
FC - Fontana's copy
FE - French edition
FE1 - First French edition
FE2 - Corrected impression of FE1
FED - Dubois copy
FEJ - Jędrzejewicz Copy
FES - Stirling copy
FESch - Scherbatoff copy
GE - German edition
GE1 - First German edition
GE2 - Revised impression of GE1
GE3 - Corrected impression of GE2
EE - English edition
EE1 - First English edition
EE1a - Corrected impression of EE1
EE2 - Revised impression of EE1a
compare
  b. 81-83

in A

No markings in FC (→GE)

  in FE (→EE)

 []  [], our variant suggestion

The release of the pedal indicated at the beginning of b. 81 was not marked in A. It could have been intended by Chopin, since wherever a gradual pedal release sounds good, Chopin would often forgo the  mark (cf., e.g. the Waltz in C Minor, Op. 64 No. 1, b. 15 or the Concerto in F Minor, Op. 21, 3rd mov., b. 117-120). On the other hand, the likelihood of an oversight of  is quite high due to the layout of A – the next pedalling marking and b. 83, which precedes it, are in the next line, which promotes various inaccuracies. In practice, the pedal could be released both analogously to b. 77, hence before the 4th beat of the bar, and at the end of b. 83. The latter actually does not require any further additions, hence the two [] marks in b. 81 and 83 suggested in the main text indicate, respectively, the shortest and longest possible pedal, not naturally resulting from the Chopinesque notation.
No pedalling markings at all in these bars is most probably an oversight of FC (→GE). In turn, the  mark added in FE (→EE) by analogy with b. 77 is almost certainly inauthentic, since Fontana rather did not consult the corrections he performed in FE1 with Chopin. 

Compare the passage in the sources »

category imprint: Differences between sources

issues: FE revisions, No pedal release mark

notation: Pedalling

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