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b. 180-181

composition: Op. 49, Fantaisie in F minor

Continuous pedal in A

No pedal in GE, interpretation

2 pedals in FE (→EE)

Our variant suggestion
..

The FE pedal markings take advantage of the harmonic legato, carefully written out by Chopin, and is recommended as such, particularly on contemporary pianos – cf. bars 43-48. Due to this fact, as in those bars, in the main text we include it in a variant form, keeping the A indication as the principal one. In GE there is no  mark at all in these bars, which we interpret as the absence of pedalling.
See also bars 184-185.

category imprint: Differences between sources

b. 180-187

composition: Op. 49, Fantaisie in F minor

..

Between bars 180-181, 182-183 and analog., in addition to four necessary ties, FE includes a fifth one, at the pitch of b. This is a routine revision (in similar contexts ties are often overlooked), yet in this case it must be erroneous – in bar 180 and 184 there is no b note to which this tie could apply, whereas in bars 182-183 and 186-187 tying b would deprive the motif of its last note. In EE the ties were reproduced inaccurately – the tie in bars 184-185 was overlooked, whereas the one in bars 180-181 was provided with the form of a slur, combining c1-b.
Interestingly, in bars 182-183 this kind of superfluous tie is also in A (→GE), most probably entered by mistake.

category imprint: Interpretations within context; Differences between sources; Editorial revisions

issues: EE revisions , Errors in EE , Errors of A , FE revisions

b. 180-183

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

No fingering in A (→GE→FE,IE)

Fingering in EE
..

In the main text we do not include the inauthentic L.H. part fingering added by EE.

category imprint: Differences between sources

issues: EE revisions

b. 180-182

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

e2, e1, e in A, literal reading

e2, e1, e in GE (→FE,EE,IE)

e2, e1, e suggested by the editors
..

In A the flats lowering e to e on the penultimate quaver are missing. The accidentals were added in GE (→EE,FE,IE), which seems to be right due to the key of C minor, established already in bar 176. However, the chords in the three discussed bars are of a transitional nature (except the G chord at the beginning of each of them), hence this argument does not allow us to absolutely rule out e notes. However, the e notes in the topmost voice (present at the end of each of these bars, hence directly after the discussed chords) are another argument against e.

In A in bar 180 we can see a small cross (×) over the problematic note. It seems improbable that this mark, although written in ink, could have come from Chopin. It is probably an addition by someone who was going through the manuscript and had doubts about the pitch of this note. Was it the reviser of GE? If that were the case, it would be strange that he marked only this place, since the Sonata abounds in such issues (however, see the note on bar 255). Therefore, it could be a mark added by one of the later owners of the manuscript.

category imprint: Differences between sources; Editorial revisions

issues: Omissions to cancel alteration , Foreign hand additions in manuscripts , Errors of A

b. 180

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

Wedge in A (→GE→EE,IE)

No mark in FE
..

category imprint: Differences between sources

issues: Errors in FE