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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 |
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b. 3
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composition: Op. 49, Fantaisie in F minor
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The FE1 version featuring b category imprint: Differences between sources issues: Errors in FE , Authentic corrections of FE |
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b. 3-4
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composition: (Op. 4), Sonata in C minor, Mvt III
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The changes concerning the range of the dynamic hairpins introduced by GE (→FE,EE,IE) are arbitrary and rather unfounded if we take into account the natural phrasing, considering the direction of the melody and harmonic tensions. category imprint: Differences between sources issues: Scope of dynamic hairpins , GE revisions |
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b. 3
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composition: (Op. 4), Sonata in C minor, Mvt II
category imprint: Differences between sources issues: EE revisions , Errors in EE |
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b. 3
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composition: (Op. 4), Sonata in C minor, Mvt II
category imprint: Differences between sources issues: Errors in GE |
groups. The dots are present only in bar 3 next to d
2, in the 2nd half of bar 9 (all necessary ones), in bar 17 next to the e1-g
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.
in 
