mUltimate Chopin

Op. 28 No. 19, Prelude in E♭ major

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Pedalling

b. 7

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 3. beat in A (possible reading→FE→EE)

on 2nd beat in GE

[ ] suggested by the editors

 on 3rd beat, our alternative suggestion
..

The position of the second  marking in this bar in A (→FC) is questionable. It is placed under the 2nd and 3rd quavers of the middle triplet (due to the correction of the 2nd quaver, they are very close to each other); it can also be assigned to the 1st note of the 3rd triplet (the version of GE is almost certainly contrary to the idea of Chopin). According to us, in A it seems that the mark should be associated with f on the 6th quaver of the bar, whereas in FC with b on the 5th one. Along with the version of FE, it exhausts the possibilities of a direct interpretation of this notation.
We suggest two more solutions drawn from the unequivocal, authentic pedalling of similar phrases in b. 5 and 17.
A similar situation can be found in b. 39. 

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

issues: Inaccuracies in A

b. 9-12

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

No pedalling in A (→FE1,FC→GE)

    in FE2 (→EE)
..

The four-bar pedal added in FE2 (→EE) must be erroneous – cf. the authentic pedalling of b. 1-4. The intention could have been to generally indicate con pedale, which Chopin would probably sometimes use in the form of a single  marking (cf., e.g. the Etude in E Major, Op. 10 No. 11, b. 3-4). As Chopin's participation in the proofreading of FE2 remains unconfirmed, we keep the notation of A in the main text.

category imprint: Differences between sources

issues: FE revisions

b. 19

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

..

The crossings-out visible in A show that Chopin initially wrote in this bar 3 pedals, one for each triplet.

category imprint: Corrections & alterations; Source & stylistic information

issues: Corrections in A , Deletions in A

b. 26-27

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

Pedalling in A (→FE,FC→GE)

Pedalling in EE

Pedalling after bars 18-19 suggested by the editors

Our alternative suggestion

Our variant suggestion
..

Performing the 3rd beat of b. 26 and the 1st beat of b. 27 with one pedal is inconceivable in the sonic atmosphere of the Prelude, although it is difficult to state what misled Chopin and which pedalling markings he wanted to insert here. According to us, it is most likely that it was to be the initial pedalling in b. 18-19: . Chopin could have wanted to forgo the first change of pedal in b. 27 (after b. 25: ), yet he wrote the pedal encompassing 2 beats a triplet too early.

In the main text we give the unequivocal, final pedalling of analogous b. 18-19. As an alternative solution, we give the literally interpreted version of A, supplemented with a pedal change between b. 26-27, as well as a variant version, which includes both aforementioned possibilities.
The version of EE is either an arbitrary revision or a mistake. 

category imprint: Interpretations within context; Differences between sources; Editorial revisions

issues: EE revisions , Errors of A

b. 28-32

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

Pedalling in A (→FE→EE)

No markings in FC (→GE)
..

These bars constitute the last line of the 1st page in FC. Perhaps this was the reason for the copyist's distraction, since he overlooked all performing indications therein – pedalling, the  hairpin, the cresc. - - - indication and the R.H. slur at the end of this section. None of the above markings are in GE1; in turn, GE2 (→GE3) added only the cresc. - - - indication.

category imprint: Differences between sources

issues: Errors of FC