mUltimate Chopin

Op. 2, Variations, complete

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Pedalling

b. 367

composition: Op. 2, Variations, complete

pédale de la basse in AsI

 after first quaver in A, literal reading

 under 2nd quaver in GE (→FE,EE,FESB)

 under 1st quaver suggested by the editors
..

The placement of the  mark in A does not allow us to reproduce Chopin's intention unequivocally. Statistically speaking, Chopin would write a  mark more often – especially in the case of low-placed bass notes – before the note it was supposed to concern than after such note, but his autographs include both situations. Therefore, we assume that in this case it is the pianistic context that is decisive – bass pedal notes belong to Chopin's favourite harmonic procedures, hence the doubled F1-F octave held with pedal seems to be more likely than the solution adopted by the editions. This conclusion is confirmed by the notation of AsI – the 'bass pedal' indication written under the semiquaver figuration undoubtedly refers to the reverberation of the initial octave, which in the orchestral part is sustained by the f note, played in bars 367-368 by the bassoon, while in bars 369-370 by the French horn. 

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

issues: GE revisions , Inaccuracies in A

b. 368

composition: Op. 2, Variations, complete

No sign in sources

[] suggested by the editors
..

The missing  asterisk in the sources does not have to be Chopin's oversight. In such descending figurations preceded with a bass note, we often encounter notation without this mark, which suggests that the composer resorted to such notation either when he did not want to specify the moment the pedal should be released or when he could not decide on one of the versions, cf., e.g. the Etude in D, Op. 25 No. 8, bars 19-20, 27 or the Waltz in C minor, Op. 64 No. 2, bars 15-16. On the other hand, there is a number of places (e.g. among the above examples) in which Chopin added a  mark in some sources, probably to avoid a too long or a too short pedal. Guided by similar motives, in the main text we indicate a possible pedal release in a place in which the shape of the L.H. figuration changes, thus exposing the bass line more clearly (according to Chopin's intention probably gradually, which is indicated by the subsequent change of notation in bar 370).

category imprint: Editorial revisions

issues: No pedal release mark

b. 374

composition: Op. 2, Variations, complete

No markings in sources

Pedalling suggested by the editors
..

In the main text we suggest pedal marks modelled on an authentic indication in analogous bar 372. This bar opens the last page in A, which is devoid of pedal marks, which makes us assume that Chopin forgot to write them there. However, it cannot be ruled out that he did not repeat the marks on purpose due to a lower register of the bass and the R.H. part.

category imprint: Editorial revisions