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b. 7

composition: Op. 49, Fantaisie in F minor

..

In FCs the 1st crotchet in the bar is written as an E with an 8 marking the bottom octave (E1). Taking into account the fact that octave doublings are marked neither in bars 5-6 nor 1-2, one could assume the 8 marking in this place to be a cue that an octave is supposed to appear only just here, which, according to us, is highly unlikely – see the note on bars 1-7. Perhaps this 8 means that the octave is to be played by left hand only, which would explain the different notation compared with the previous bars, in which the octaves were supposed to be played by both hands. However, it is most likely an irrelevant inconsistency resulting from poorly thought-out and sketchy notation.

category imprint: Source & stylistic information

b. 7-8

composition: Op. 49, Fantaisie in F minor

after 3rd beat of b. 7 in A (→GE)

No marking in FE

in bar 8 in EE

 before 3rd beat suggested by the editors
..

The  asterisk is placed in A before the 4th beat of the bar, while in GE even further (under the 4th beat). According to us, it is an inaccuracy of notation, hence in the main text we suggest a pedal change along with a chord change on the 3rd beat of the bar, as marked by Chopin in analogous places. The absence of the mark in FE most probably means that Chopin either did not notice the absence of a  or ignored it while proofreading FE2 (cf. the note on bars 2-17). The mark added by EE cannot be authentic.

category imprint: Differences between sources

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

b. 7

composition: Op. 49, Fantaisie in F minor

Dotted quaver & semiquaver e2 in A (→GE)

Crotchet & semiquaver e2 in FE

Crotchet e2 in EE
..

category imprint: Differences between sources; Corrections & alterations

issues: EE revisions , Errors in FE , FE revisions

b. 7

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

No slur in sources

Slur suggested by the editors
..

Leaving the L.H. quaver motif without a slur seems to be Chopin's inadvertence, since the motif's structure and nature clearly refer to the Sonata's opening motif. Admittedly, similar figures are quite often provided with inconsistent slurs in the Sonata, yet in this case it is more likely that we are dealing with the composer's oversight, as evidenced by the slur in the analogous bar in the recapitulation (bar 185). Taking into account the above, in the main text we add a slur modelled after that bar.

category imprint: Editorial revisions

b. 8

composition: Op. 29, Impromptu in A♭ major

..

EE is lacking pedalling markings in that bar.

category imprint: Differences between sources

issues: Errors in EE