Abstract
Abstract Chopin wrote more pedal indications than any other composer up to World War II, and his playing was admired for its kaleidoscopic palette of subtle colors; yet, in performances today the subtlety and astonishing precision of those indications are often ignored. By examining the three extant autographs and the first editions of the Mazurka Op. 59, No. 2, and the autograph of the Nocturne Op. 55, No. 2, this study demonstrates that Chopin often sought contrast between pedaled and unpedaled sound—even where there is an oom‐pah‐pah accompaniment; that he frequently altered pedalings in similar places to shift emphasis; and that he engaged in long‐range planning and development of pedal effects.
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