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b. 214

composition: Op. 49, Fantaisie in F minor

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In A there are no accidentals to the 2nd R.H. chord. In FE a cautionary  was added to c1, perhaps at Chopin's request. GE and EE include both cautionary accidentals, which we give in the main text.

category imprint: Differences between sources; Editorial revisions

issues: EE revisions , GE revisions , Cautionary accidentals , Authentic corrections of FE

b. 214

composition: Op. 49, Fantaisie in F minor

Arpeggio sign in A (→GE) & FE (→EE1)

Arpeggio sign and slur in EE2
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The arpeggio to the 3rd chord in A is in the form of a vertical slur (which is typical of Chopin's later notation). This is how it was reproduced in FE (→EE), whereas in GE a standard wavy line was used. In EE2, to the slur adopted from FE, the meaning of which was apparently unknown, the wavy line from GE1 was added. Therefore, in the EE2 version we reproduce, by way of exception, both signs literally (cf. General Editorial Principles, p. 5a).

category imprint: Differences between sources

issues: EE revisions

b. 214

composition: Op. 49, Fantaisie in F minor

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The deletions visible in A reveal that the decision concerning the 2nd and 3rd beats of the bar in the L.H. part was changed twice. Two versions were deleted, one of which – most probably the initial one – is identical to the final text (the F1-F minim). In the second deleted version Chopin kept simultaneous chords (including basses) to the end: .

category imprint: Corrections & alterations; Source & stylistic information

issues: Corrections in A , Chopin's hesitations , Deletions in A

b. 214

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

Slur from a to d in A, contextual interpretation

Slur from b to b in A (probable interpretation→GE→FE,EE,IE)
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It is unclear how to interpret the A slur. The comparison with the authentic slurs in bars 28-30, containing very similar figures, suggests that the slur could be starting from the 3rd quaver. Musically speaking, it would be justified to lead the slur to d, which draws our attention to this note, leading to e at the beginning of the next bar. On the other hand, due to the different structure of the L.H. figuration – a smooth scale sequence running from the beginning of the bar – there is no harmonic stop on a G chord present in the aforementioned bars, hence separating the first 2 quavers no longer makes sense. Moreover, taking into account the fact that the slur is more or less symmetrically placed over the group of 8 quavers, and the A slurs are often inaccurate, one can consider the whole-bar GE slur (→FE,EE,IE) a fully-fledged interpretation of the A notation. In the main text we opt for this interpretation, considering the first one an equal variant.

category imprint: Graphic ambiguousness; Differences between sources

issues: Inaccurate slurs in A , GE revisions

b. 215

composition: Op. 43, Tarantella

 
 
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In GE1 (→GE2→GE3) the second note of the RH part is written out as a quaver only.

category imprint: Differences between sources

issues: Inaccuracies in GE