EE2
Main text
A - Autograph
FC - Fontana's copy
CXI - Copy of earlier version
CGS - Copy by George Sand
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. 5-6

with bass in A (→FE,FCGE) & EE2

 under semiquaver in CXI

No markings in EE1 & CGS

The placement of the  marks in b. 5, 7, 9 and 13 in CXI could be considered an inaccuracy, forced by the low position of the bass notes; however, when implemented accurately, such a pedalling ensures a full and clear sound of an entire chord, preserving the bass note without disturbing the melodic notes. One could easily expect such a subtlety from Chopin, cf., e.g. the Mazurka in G Major, Op. 50 No. 1, b. 103. A possible reason for abandoning that detail in the version prepared for print could have been a faster tempo, which would inhibit a precise performance of that detail.
The oversight of the  marks is probably an inaccuracy of the copyist, who remembered them in the second line of the text (b. 9-16). However, it is also likely that such a simplified notation was used by Chopin himself (provided that CXI was based on a lost authentic source).
The missing pedalling indications in CGS – see b. 3-4. The oversight of the engraver of EE1 was rectified in EE2.

Compare the passage in the sources »

category imprint: Differences between sources

issues: EE revisions, Errors in EE

notation: Pedalling

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