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b. 276

composition: Op. 49, Fantaisie in F minor

Staccato dots in A & GE2

L.H. dot in GE1

No marks in FE (→EE)
..

Unlike the first time (bar 109), in A Chopin provided the 1st crotchet in the bar with staccato dots. The marks were probably added to A after [FC] had been finished, perhaps together with the deletion of the slur reaching the R.H. chord. The missing R.H. dot in GE1 is an oversight, corrected in GE2.

category imprint: Differences between sources

issues: Errors in GE , GE revisions

b. 276-283

composition: Op. 49, Fantaisie in F minor

No L.H. slurs in A & FE (→EE1)

L.H. slurs in GE & EE2
..

As in bars 109-116, in GE the L.H. part slurs were added, yet this time only under the octave sequences. This arbitrary addition was repeated in EE2 as well.

category imprint: Differences between sources

issues: EE revisions , GE revisions

b. 276-282

composition: Op. 49, Fantaisie in F minor

Half-bar-long  in A

Longer  in GE & EE2

No signs in FE (→EE1)
..

As in analogous bars 109-115, the  hairpins in bar 276, 278, 280 and 282 were almost certainly added by Chopin to A after [FC] had been finished (→FE→EE1). The range of particular marks differs slightly, yet in GE the hairpin begins under the first octave, which cannot be justified. In this form it was then added by EE2.

category imprint: Differences between sources; Corrections & alterations

issues: EE revisions , Inaccuracies in GE , Scope of dynamic hairpins , Corrections in A

b. 276

composition: Op. 49, Fantaisie in F minor

 in A (→GE) & EE2

No indication in FE (→EE2)
..

The absence of  is probably an oversight by the copyist or by the engraver of FE1. It is supported by the presence of cresc. - - - leading to this bar in FE, whose range is identical as in A, as a result of which the possibility that both markings were added independently (cf. bar 101 and 109) is less likely; therefore, it is rather A that is the only original source of the markings.  

category imprint: Differences between sources

issues: EE revisions , Errors in FE

b. 276

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

2 slurs in A

Continuous slur in GE (→FE,EE,IE)
..

The A slurs were almost certainly divided due to graphical reasons – Chopin would generally write slurs on the side of noteheads, often at the expense of accuracy, cf., e.g. I mov., bars 179-183. The fact that this version was left in A allows us to assume that Chopin considered both variants of slurs to be equal, hence in the main text we provide the continuous slur of GE (→FE,EE,IE).

category imprint: Differences between sources; Editorial revisions

issues: GE revisions