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b. 316

composition: Op. 49, Fantaisie in F minor

No sign in sources

[], our alternative suggestion
..

The  mark in bar 314 is not followed by a  mark in A (→GE) and FE, which may or may not be Chopin's oversight. In the main text we suggest adding a  in bar 315; however, we also deem it possible to release the pedal later, e.g. in the middle of the discussed bar, which we suggest as an alternative solution.

category imprint: Editorial revisions

b. 316-318

composition: Op. 49, Fantaisie in F minor

..

In A and FE1 the naturals restoring d3, d2 and d1 in the 2nd half of each of these bars are missing. Chopin's patent mistake was corrected – perhaps at his request – in FE2 (→EE). By contrast, GE added a respective  only in bar 318.

category imprint: Differences between sources

issues: Omissions to cancel alteration , GE revisions , Errors of A , Authentic corrections of FE

b. 316

composition: Op. 49, Fantaisie in F minor

Long accent in A

Short accent in GE

No mark in FE (→EE)
..

In A the accent over a3 is clearly longer than the next ones. According to us, it is an inaccuracy, since there is no reason to differentiate between accents in such homogeneous texture (a short accent is also over the L.H. minim chord in this place). GE reproduced it as a short accent. The absence of the mark in FE (→EE) could be explained by an oversight by the copyist or by the engraver, yet further differences in the type and number of accents between A and FE suggest that Chopin was adding these marks independently to A and to [FC] or while proofreading FE. However, even under such circumstances, the missing accent seems to be an oversight.

category imprint: Graphic ambiguousness; Differences between sources

issues: Long accents , Inaccuracies in GE , Inaccuracies in A

b. 316-318

composition: Op. 49, Fantaisie in F minor

Short accents in A (→GE)

Different  in FE (→EE)

Long accents after FE
..

When interpreted literally, the FE (→EE) marks could be interpreted as  hairpins (particularly the second mark in bar 317, longer than the remaining ones), and this is how we reproduce them in our transcriptions. The clear difference in the marks' length and position with respect to the A accents probably resulted from the fact that Chopin added them twice and independently – to A and to [FC] or while proofreading FE1. This would support the interpretation of the FE marks as long accents (as the context suggests), hence – accepting their authenticity – we suggest them in this form as an alternative version to the short A accents.
See also the note in bar 318.

category imprint: Differences between sources; Editorial revisions

issues: Long accents

b. 317

composition: Op. 21, Concerto in F minor, Mvt III

No indication in sources

[a tempo] suggested by the editors
..

According to us, the chromatic descending scale must be performed a tempo. It is possible that Chopin had to be satisfied with the marking leggieremente, which suggests a change of approach – the passages in bars 311 and 315, in spite of the very neutral dynamics, are not associated with "lightness." The ritenuto appearing in bar 324 may be considered an additional argument for changing the tempo in bar 317.

category imprint: Editorial revisions