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b. 109-110

composition: Op. 49, Fantaisie in F minor

..

The range of the slur is unclear in A – at the end of bar 109, which ends a line, the slur fades due to lack of ink, while bar 110 does not contain a continuation thereof. Therefore, when interpreted literally, it reaches the last quaver in bar 109. Nevertheless, there is no doubt that Chopin meant a longer slur, as in the next three analogous figures. This is how it was reproduced in all editions.

category imprint: Differences between sources

issues: Inaccurate slurs in A , GE revisions , FE revisions , Uncertain slur continuation

b. 109-116

composition: Op. 49, Fantaisie in F minor

No L.H. markings in A & FE (→EE1)

Slurs & staccato dots after GE

Slurs & staccato dots after EE2
..

In GE in these bars separate articulation markings were added for the L.H., modelled on the respective marks – slurs and staccato dots – for the R.H. part (only the slur and the dot in bars 112-113 were overlooked). This addition cannot be authentic, despite being justified in terms of content, since there are no doubts that the phrasing and articulation of both hands must be compliant. The additions were repeated in EE2, in which a number of inaccuracies occurred – the slur in bars 110-111 and the staccato dots in bar 114 and 116 were overlooked, and the slurs in bar 111 and 115 were shortened, reaching only the last quaver in the bar.

category imprint: Differences between sources

issues: EE revisions , GE revisions

b. 109-115

composition: Op. 49, Fantaisie in F minor

Half-bar-long  in A

Longer  in GE & EE2

No signs in FE (→EE1)
..

The  hairpins in bar 109, 111, 113 and 115 must have been added by Chopin to A after [FC] (→FE→EE1) had been finished. It is difficult to imagine a situation in which the copyist or the engraver could overlook so many marks, particularly since there is an identical situation in analogous bar 276, 278, 280 and 282. In GE the marks were extended by placing their beginnings under the first quaver in the bar. It is in this form that they were added to EE2.

category imprint: Differences between sources; Corrections & alterations

issues: EE revisions , Inaccuracies in GE , Corrections in A

b. 109

composition: Op. 49, Fantaisie in F minor

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In FE1 the  to the top note of the octave at the beginning of the 2nd half of the bar (d) was overlooked. The mistake was rectified in FE2.

category imprint: Interpretations within context; Differences between sources

issues: Errors in FE , FE revisions

b. 109-110

composition: (Op. 4), Sonata in C minor, Mvt I

Long accents in A, possible interpretation

Accent &  in GE (→EE,IE)

2  in FE (our alternative suggestion)
..

The  marks written in A at the beginning of these bars seem to be accents (long), and this is the version we suggest in the main text. However, such an interpretation could be questioned – as the marks are under the stave, it could mean that they are related to the bottom voice, which excludes accents, since in both cases they would concern tied notes. Due to the above, as an alternative solution we suggest short diminuendoes between the crotchets. The differentiated GE marks (→EE,IE) correspond to certain aspects of the A notation, yet, according to us, they are accidental, since there are no musical grounds to interpret these two places differently. FE standardised the marks, which resulted in a version that we suggest as an alternative.

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

issues: Long accents , FE revisions