Pedalling
b. 6
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composition: Op. 28 No. 24, Prelude in D minor
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At the end of the bar, one can see a crossed-out marking in A. Crossings-out of those markings in similar situations are also present at the end of b. 20, 41 and 54. category imprint: Corrections & alterations; Source & stylistic information issues: Corrections in A , Deletions in A |
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b. 10-16
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composition: Op. 28 No. 24, Prelude in D minor
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EE1 has no signs in the middle of bar 10 and at the end of bars 15-16. These are probably oversights by the engraver. Only the first one was corrected in EE2. category imprint: Differences between sources issues: EE revisions , Errors in EE |
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b. 20
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composition: Op. 28 No. 24, Prelude in D minor
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At the end of the bar, one can see a crossed-out mark in A. Crossings-out of those marks in similar situations are also to be found at the end of b. 9, 41 and 54. category imprint: Corrections & alterations; Source & stylistic information issues: Corrections in A , Deletions in A |
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b. 28-29
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composition: Op. 28 No. 24, Prelude in D minor
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Missing the two consecutive pedal changes is undoubtedly an error of GE. category imprint: Differences between sources issues: Errors in GE |
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b. 41-42
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composition: Op. 28 No. 24, Prelude in D minor
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Fontana omitted the mark at the beginning of b. 41 in FC, leaving a lonely asterisk at the end of b. 42. GE completed the pedalling; however, in the face of varied L.H. figures in these bars, a separate pedal was added in each of them. The crossing-out of the mark at the end of b. 41, visible in A, proves that Chopin consciously combined them with pedal. Crossings-out of those marks in similar situations are also present at the end of b. 9, 20 and 54. category imprint: Differences between sources; Corrections & alterations; Source & stylistic information issues: Corrections in A , GE revisions , Deletions in A , Errors of FC |