mUltimate Chopin

Op. 2, Variations, complete

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Pedalling

b. 15

composition: Op. 2, Variations, complete

No sign in A (→GE→FE,FESB)

in EE
..

The lack of the  sign ​​​​​​ should be considered Chopin's inaccuracy in this context. The sign was added only in EE.

category imprint: Differences between sources

issues: EE revisions , No pedal release mark

b. 40-41

composition: Op. 2, Variations, complete

No markings in A (→GE→FE), contextual interpretation

    in EE
..

In addition to the  mark at the end of b. 39, A (→GE→FE,EE) includes the same mark also before the 1st chord in b. 41. A more detailed analysis of A reveals that in the middle of b. 40 there were initially  marks, eventually erased and most probably replaced with the first  mark. Therefore, it seems that Chopin initially wrote two pedals in b. 39-40, one from the 2nd beat of b. 39 to the middle of b. 40 and another encompassing the 2nd half of b. 41 (to the preserved  mark) before shortening the first pedal and removing the second, inadvertently leaving the asterisk at the beginning of b. 41. EE added the allegedly overlooked  mark yet without taking into account the change of chord in the middle of the bar; this pedalling cannot come from Chopin.

category imprint: Editorial revisions; Corrections & alterations

issues: EE revisions , Corrections in A , Errors resulting from corrections , Errors of A

b. 49-50

composition: Op. 2, Variations, complete

Pedalling in A (→GE→EE,FESB)

No pedal in FE1 (→FE2), contextual interpretation
..

In FE the  mark was probably overlooked. In b. 50, on the next page, the corresponding  mark was reproduced correctly, which, however, is not enough for us to guess the authentic pedalling, since there are a few places in which the overlooked  mark could be placed. Due to the above, we treat the text of FE as not including pedalling markings in these bars.

category imprint: Differences between sources

issues: Errors in FE

b. 265

composition: Op. 2, Variations, complete

..

In the entire G major section of Variation V (bars 263-268), the pedalling markings are written in A rather carefully; however, it can be seen that more attention was paid to keeping the marks on the same level than to their correct alignment. In particular, the  marks in bar 265 are written before the bass D notes, as a result of which the preceding  marks had to be written sufficiently earlier. It did not lead to a significant inaccuracy at the end of bar 264; however, on the 2nd beat of bar 265, the  mark actually falls before the d-a-c1 quaver. Such an early pedal release could not have been intended by Chopin, since the  and  marks are written next to each other and almost certainly simply indicate a pedal change.
The notation of the editions is similar to the notation of A; however, it is less confusing due to different proportions of gaps between the notes and due to the size of the marks.
FESB overlooked the  sign on the 2nd beat.

category imprint: Graphic ambiguousness; Differences between sources; Source & stylistic information

issues: Inaccuracies in A ,

b. 266

composition: Op. 2, Variations, complete

..

As in bar 265, the pedalling marks in the 1st half of the bar are inaccurately aligned in A – the first  mark is written as early as under the chord on the 2nd quaver in the bar, while the next  mark – directly behind it, still before the d1 crotchet in the top voice. However, as the 2nd, 3rd and 4th quavers in the bar are written very close to each other, one can guess that the inaccurate alignment resulted from lack of space; consequently, in the editions the notation was corrected in accordance with the analogous places and the pianistic sense.

category imprint: Graphic ambiguousness; Differences between sources

issues: GE revisions , Inaccuracies in A