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b. 3
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composition: Op. 63 No. 1, Mazurka in B major
category imprint: Differences between sources issues: No pedal release mark |
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b. 3-13
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composition: Op. 63 No. 1, Mazurka in B major
category imprint: Graphic ambiguousness; Differences between sources; Corrections & alterations issues: Wedges |
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b. 3
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composition: Op. 63 No. 2, Mazurka in F minor
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In As the third beat in the L.H. part is not recorded. Since chord repetitions are marked in As by vertical lines symbolizing the stems of repeated chords, we assume that Chopin intended a rest here. It is possible, however, that he considered the repetition of the previous crotchet so obvious that he even omitted the abbreviated marking of this beat. category imprint: Interpretations within context; Differences between sources; Corrections & alterations; Source & stylistic information issues: Accompaniment changes |
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b. 3
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composition: Op. 49, Fantaisie in F minor
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In FCs on the 4th beat of the bar there is only a c2-f2 fourth in the R.H., which is most probably a mistake by the copyist, committed at the time of reading Chopin's draft (perhaps vague). In this place, omitting the chord's third is totally unjustified, neither by the chord's sound nor by the voice leading. It is all the more unlikely given that this empty interval would also have to appear in bar 13, which is marked as a repetition of bar 3 in FCs. category imprint: Differences between sources; Source & stylistic information |
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b. 3-19
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composition: Op. 49, Fantaisie in F minor
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One of the intriguing features of FCs is the almost complete absence of augmentation dots in If the Chopinesque sketch was actually devoid of dots, one could assume that Chopin first wrote bare quavers in these places and then added semiquaver beams "en bloc", omitting the majority of dots due to their obvious nature in this situation. category imprint: Interpretations within context; Corrections & alterations; Source & stylistic information |
in 
-e1 in 
groups. The dots are present only in bar 3 next to d
1-b1-e2 chord and in bar 22 next to a1, which means that 56 dots were omitted. It could be a feature of Chopin's sketch autograph reproduced by Fontana or facilitation applied by the copyist, who, perhaps, was copying it under time pressure. We prefer the former – if Fontana had been omitting dots due to time pressure, he could have added them later. On the other hand, since he was copying Chopin's incomplete and, consequently, ambiguous notation, he could be afraid that he might guess it incorrectly.