mUltimate Chopin

Op. 28 No. 7, Prelude in A major

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Pedalling

b. 1-2

composition: Op. 28 No. 7, Prelude in A major

 on E in A (→FC→GE, →FE→EE)

 on e1 in CXI

 on e1 (without ) in CGS
..

In A the  mark is written before the bass E, which, due to the significant horizontal spaces between subsequent notes, does not contribute to misunderstandings – both in FC (→GE) and FE (→EE) it was placed under that note. In turn, in CGS a respective mark was placed not only before the note (like in A), but also before the bar line; moreover, the e1 crotchet in the upbeat falls precisely over that mark, which already changes the meaning of that indication. Such a pedalling would be perfectly acceptable; however, it is difficult to say whether the copyist conveyed here a pedalling variant, perhaps authentic, or whether she simply inaccurately wrote the version of FE. A  mark at the beginning of the piece (written already under the time signature) appears also in CXI.

In CGS the discussed  mark is the only pedalling indication in the entire piece. Therefore, it suggests another possible explanation for such a position – placed at the beginning of the piece, the mark is just a general indication, according to which the pedalling should be natural (=harmonic).  

category imprint: Differences between sources

issues: No pedal release mark , Inaccuracies in CGS

b. 3-4

composition: Op. 28 No. 7, Prelude in A major

Pedalling in A (→FC→GE, →FE→EE)

Incomplete pedalling in CXI

No markings in CGS
..

It is either inaccuracy of the copyist or a conscious simplification of notation by George Sand (see also b. 1-2), who knew the piece well, that are probably responsible for an almost complete absence of pedalling indications in CGS (apart from the  mark at the beginning of the piece). Due to the differences in the placement of the  marks, we discuss b. 5-10 and 13 separately.

category imprint: Differences between sources

b. 5-6

composition: Op. 28 No. 7, Prelude in A major

with bass in A (→FE,FC→GE) & EE2

 under semiquaver in CXI

No markings in EE1 & CGS
..

The placement of the  mark in CXI is probably an inaccuracy. However, if the manuscript was indeed based on a lost authentic source, such a later pedal, resulting in the notes ringing out clearer further on in the bar, could have come from Chopin.
The oversight of the  mark is probably an inaccuracy of the copyist – there is a similar situation in bar 8.
The missing pedalling indications in CGS – see b. 3-4.
The oversight of the engraver of EE1 was rectified in EE2.

category imprint: Differences between sources

issues: EE revisions , Errors in EE

b. 7-8

composition: Op. 28 No. 7, Prelude in A major

with bass in A (→FC→GE, →FE→EE)

 under semiquaver in CXI

No markings in CGS
..

The position of the  mark in CXI may be inaccurate or constitute a potentially authentic variant of pedalling – see b. 5-6. The missing  mark in b 8 is almost certainly an oversight.
No pedalling markings in CGS – see b. 3-4.

category imprint: Differences between sources

b. 9-14

composition: Op. 28 No. 7, Prelude in A major

Pedalling in A (→FC→GE, →FE→EE)

Pedalling in CXI

No markings in CGS
..

As in bars 5 and 7, the position of  marks in bars 9 and 13 (and also 11) is possibly inaccurate, although one cannot entirely rule out that their placement, resulting in a well-sounding pedalling, is authentic – see b. 5-6.
The placement of  signs is most probably inaccurate in this manuscript and therefore the editors recommend releasing the pedal before the 3rd beat in bar 10 and 14 (also 12) even when one chooses the delayed pedal use.
No pedalling markings in CGS – see b. 3-4.

category imprint: Differences between sources