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b. 120

composition: Op. 49, Fantaisie in F minor

Chords with d2 in A (→GE) & FE2 (→EE)

Chords without d2 in FE1
..

The absence of 4 d2 notes in the chords in the 2nd half of the bar in FE1 must be a mistake, corrected in FE2 (→EE).

category imprint: Differences between sources

issues: Errors in FE , FE revisions

b. 120-123

composition: Op. 49, Fantaisie in F minor

of different size in A, probable reading

in b. 120 & 122 in GE

No signs in FE (→EE1)

in b. 120 in EE2

 to b. 121 & 123 in A, contextual interpretation
..

As in bar 109 and analog., the  hairpins in bars 120-121 and 122-123 were almost certainly added to A as part of corrections and additions after [FC] had been finished, which explains their absence in FE (→EE1). However, their range in A is questionable – it is uncertain whether they end before or after the bar line. We provide marks of varied length as the A version, whereas in the main text we lead both marks to the next bar, in accordance with the unanimous A version in analogous bars 287-290. In EE2 the mark in bar 120 was added after comparing it with GE1.

category imprint: Graphic ambiguousness; Differences between sources; Corrections & alterations

issues: EE revisions , Scope of dynamic hairpins , Corrections in A

b. 120-121

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

Slur in A, literal reading

Slur in A (contextual interpretation→GE→FE,EE,IE)
..

When interpreted literally, the A slur is not related to the phrase structure, which raises doubts as to its range, particularly in the face of numerous other examples of inaccurate slurs in this manuscript (e.g. in bars 96-97). Due to the above, in the main text we provide the interpretation of this slur as adopted by GE (→FE,EE,IE), which is a reasonable compromise between the actual range of the phrase, confirmed by the R.H. slur, and the actual notation (cf. also the L.H. slur in a similar context in bars 112-114).

category imprint: Differences between sources

issues: Inaccurate slurs in A , GE revisions

b. 120

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

..

In A the  restoring b3 on the penultimate quaver of the top voice is missing. The patent oversight was corrected in GE (→FE,EE,IE). Similarly, in bar 121 and 123.

category imprint: Interpretations within context; Differences between sources

issues: Omissions to cancel alteration , GE revisions , Errors of A

b. 120-123

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

No fingering in A (→GE→FE,IE)

Fingering in EE
..

In the main text, we do not include the inauthentic fingering of the R.H. upper voice, added by EE.

category imprint: Differences between sources

issues: EE revisions