mUltimate Chopin

Op. 28 No. 19, Prelude in E♭ major

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Pedalling

b. 39

composition: Op. 28 No. 19, Prelude in E♭ major

on 6th quaver in A, probable reading

on 5th quaver in A (another reading→FC)

on 2nd beat in FE (→EE) & GE

on 3rd beat, possible reading of A

[ ] suggested by the editors

 on 3rd beat, our alternative suggestion
..

As was the case in b. 7, of which this bar is a repetition, the interpretation of the pedalling markings in the manuscripts is problematic. In addition to two most likely interpretations of A (versions A and FC), we suggest one more possible interpretation and two contextual interpretations modelled on the pedalling markings written by Chopin in similar situations in b. 37 or 25.

category imprint: Graphic ambiguousness; Differences between sources; Editorial revisions

b. 41-42

composition: Op. 28 No. 19, Prelude in E♭ major

No pedalling in A (→FE1,FC→GE)

   in FE2 (→EE)

[  ] suggested by the editors
..

The authenticity of the pedalling markings added in FE2 (→EE) is uncertain. On the other hand, leaving two bars without pedalling markings in a piece provided with detailed pedalling indications may be misleading, hence in the main text we suggest adding markings after analogous b. 1-2 and 33-34. Adopting a different solution here than in b. 9-12 is motivated by the fact that Chopin saw there the entire text and could evaluate whether repeating the markings from b. 1-4 was necessary; in turn, here all he saw were empty, numbered bars, which hampered such an evaluation.

category imprint: Differences between sources; Editorial revisions

issues: FE revisions

b. 53

composition: Op. 28 No. 19, Prelude in E♭ major

 in A

    in FC (→GE)

  in FE (→EE)
..

The change of pedal on the 3rd beat of the bar is an arbitrary addition of Fontana, who proofread FE1 in the absence of Chopin. He intervened due to the single  mark at the beginning of the bar left in A (which, in turn, must have resulted from corrections and crossings-out). Upon seeing a change of the bass note, Fontana complemented the markings in a standard, safe manner; however, he did not check the authentic pedalling in analogous b. 61. Interestingly, in FC he added only a  mark at the end of the bar.

category imprint: Interpretations within context; Differences between sources

issues: Errors resulting from corrections , FE revisions , No pedal release mark , Fontana's revisions , Inaccuracies in A

b. 69-71

composition: Op. 28 No. 19, Prelude in E♭ major

No sign in A

in FC & FE

 in GE

   in EE
..

The  asterisk, added both in FC (→GE) and FE (→EE), cannot be authentic. The notation of A implies that the pedal depressed on the 3rd beat of b. 68 should be held to the end of the Prelude; moreover, both the sonic effect of such pedalling and no final  mark are typical of Chopin and are to be found in the endings of a number of his compositions. The individual sources slightly differ in the placement of this , hence we assume that there are two slightly different versions.
The pedalling in the last bar is an arbitrary revision of EE.

category imprint: Differences between sources

issues: EE revisions , FE revisions , Fontana's revisions