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b. 244
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composition: Op. 49, Fantaisie in F minor
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The FE rhythm (→EE) must be a mistake, probably committed by the copyist in [FC]. Moving the semiquaver beyond the 3rd quaver in the L.H. triplet was an arbitrary decision by the engraver of GE – see bars 77-82 and 245-249. category imprint: Differences between sources issues: Errors in FE , GE revisions , Dotted rhythms and triplets , Dotted or even rhythm |
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b. 244
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composition: Op. 49, Fantaisie in F minor
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In the main text we give the A version (→GE), analogous to the version in bar 168. The FE version could be considered a Terzverschreibung mistake if it were not for the fact that it is musically reasonable and could have been introduced by Chopin into [FC] or while proofreading FE1. Such swinging motion of the figuration topmost notes can often be seen in Chopin's pieces, cf., e.g. the Variations in B category imprint: Differences between sources issues: Authentic corrections of FE |
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b. 244
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composition: Op. 49, Fantaisie in F minor
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In the main text we add cautionary flats to a category imprint: Editorial revisions |
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b. 244-245
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composition: Op. 49, Fantaisie in F minor
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The slurs were most probably added to A after [FC] had been finished – hence their absence in FE (→EE1). In EE2 the slurs were added on the basis of GE1. category imprint: Differences between sources |
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b. 244-248
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composition: Op. 49, Fantaisie in F minor
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Both performance variants of the grace note in bar 244 and 248 are most probably authentic – in similar contexts Chopin used both tied grace notes (e.g. analogous bar 77 and 81 and 164 and 168) and repeated grace notes (e.g. Allegro de concert, Op. 46, bar 213 or Polonaise-Fantaisie, Op. 61, bar 61). On the other hand, we cannot rule out an oversight of the ties in A and them having been added as 'obvious' by Fontana to [FC]. In the main text we give the version with tied grace notes, in the belief that the correction to [FC] or at the stage of proofreading of FE1 was introduced by Chopin himself, correcting his inaccuracy from A or foregoing the differentiation of this detail between the particular appearances of this theme. category imprint: Differences between sources issues: Authentic corrections of FE |
, Op. 12, bars 192-195, Bolero, Op. 19, bars 155-167, Sonata in B minor, Op. 58, I mov., bars 41-47. Therefore, this version can be considered an equal variant.
