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b. 290-293
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composition: Op. 49, Fantaisie in F minor
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The seven accents written in A, in spite of slight differences in length, are certainly long accents. All editions reproduced them as common, short accents, probably due to the fact that in this context they could not be considered diminuendos, which is how Chopinesque long accents were generally interpreted. The absence of the penultimate mark (at the beginning of bar 293) is most probably an oversight by the copyist or by the engraver of FE1. category imprint: Graphic ambiguousness; Differences between sources issues: Long accents , Errors in FE , Inaccuracies in GE , Inaccuracies in FE |
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b. 290-291
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composition: Op. 49, Fantaisie in F minor
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The stretto - - indication was almost certainly added to A after [FC] had been finished. Such an explanation for its absence in FE (→EE1) is supported by the fact that in this group of sources the next agogic indications are missing as well, that is più mosso in bar 294 and sempre più mosso in bars 306-309. The oversight of the dashes marking the scope of stretto in GE, a frequent inaccuracy in the Chopinesque editions, seems to be important in this case, since the A notation most probably indicates that stretto is to be applied only over the course of one bar and a half and not, as it could be expected, until più mosso in bar 294. In EE2 the indication was repeated after GE1. category imprint: Differences between sources; Corrections & alterations issues: Corrections in A |
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b. 290
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composition: Op. 49, Fantaisie in F minor
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In FE1 the accidental to the bottom note of the 1st R.H. chord is missing. The sharp was added by FE2. category imprint: Interpretations within context; Differences between sources issues: Errors in FE , FE revisions |
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b. 290
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composition: (Op. 4), Sonata in C minor, Mvt IV
category imprint: Differences between sources issues: EE revisions , Errors in EE , Wedges |
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b. 291-303
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composition: Op. 39, Scherzo in C♯ minor
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As far as beginnings of slurs in bars 291 and 299 are concerned, we decide to give priority to the consistent notation of EE and FE, without trying to reach final conclusions about Chopin's intentions in that respect. In GC, and partly in GE, the slurs in those bars run from the 1st crotchet . GE also has arbitrarily added slurs in the L.H. part. category imprint: Differences between sources |
