



b. 223
|
composition: Op. 49, Fantaisie in F minor
..
Chopin added the category imprint: Interpretations within context; Differences between sources; Corrections & alterations; Source & stylistic information issues: Corrections in A , Errors of A , Errors repeated in FE |
||||||||
b. 223
|
composition: Op. 49, Fantaisie in F minor
..
In FE1 the bottom minim at the beginning of the bar is an A category imprint: Interpretations within context; Differences between sources issues: Errors in FE , FE revisions |
||||||||
b. 223
|
composition: Op. 49, Fantaisie in F minor
..
When interpreted literally, the Tempo primo indication directs us to the beginning of the piece, which, of course, could not have been intended by Chopin. Therefore, formally speaking, come prima would be more appropriate, which means, among others, 'as before'. We keep the source indication, as the texture clearly indicates that it should be the tempo of the main section of the Fantasy that should be continued. category imprint: Source & stylistic information issues: Errors of A , Errors repeated in GE , Errors repeated in FE , Errors repeated in EE |
||||||||
b. 224
|
composition: Op. 43, Tarantella
..
In GE the slur begins on the second beat of the bar. category imprint: Differences between sources; Editorial revisions |
||||||||
b. 224-227
|
composition: Op. 39, Scherzo in C♯ minor
..
The consistency of the slurring in EE and GC (→GE) suggests that the slur notation was imprecise in the autograph. For our main text we take the slur of FE as undoubtedly correct. category imprint: Differences between sources issues: Placement of markings , EE inaccuracies , Inaccuracies in GC |