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b. 294

composition: Op. 49, Fantaisie in F minor

più mosso from 2nd crotchet in A (literal reading→GE)

No indication in FE (→EE1)

più mosso from first crotchet in A (possible interpretation) & EE2
..

As was the case with stretto in bar 290, più mosso was almost certainly added to A after [FC] had been finished. When interpreted literally, the indication begins over the 2nd crotchet in the bar, which suggests that the tempo should be increased only just starting from that place. However, it is uncertain whether it actually corresponds with Chopin's intention, since in his autographs one can quite often encounter the remaining elements of an earlier manner of placing markings within their scope (cf. bar 109), which in this case would require a tempo change already at the beginning of the bar. This is how it was interpreted in EE2, in which the indication, repeated after GE1, was moved to the beginning of the bar. In the main text we reproduce the A notation; however, the EE2 version can be considered an equal variant.

category imprint: Differences between sources; Corrections & alterations

issues: EE revisions , Centrally placed marks

b. 294

composition: Op. 49, Fantaisie in F minor

Separate slurs in A (→GE)

Slur from beginning of bar in FE (→EE1)

Chained slurs in EE2
..

In the main text we give the A slurs (→GE), which provide the beginnings of the analogous phrases in bar 294 and 302 with homogenous articulation. The fact that the first two chords are to be separated was additionally specified with a staccato on the 1st crotchet. The FE slur is most probably authentic and corresponds with the phrasing in analogous bar 127. The EE2 version arbitrarily compiled the slur drawn from FE with the short slur repeated after GE1.

category imprint: Differences between sources

issues: EE revisions

b. 294

composition: Op. 49, Fantaisie in F minor

No mark in sources

Long accent suggested by the editors
..

In the main text we suggest adding an accent over the syncopated e1 minim. The fact that this note should be accented is indicated by the accents over all the remaining syncopated notes in the first phrase of this theme. These marks were added to A after [FC] had been finished, while in the discussed bar Chopin was occupied with the issue of marking the new agogic concept of this final theme.

category imprint: Editorial revisions

b. 294

composition: Op. 49, Fantaisie in F minor

sempre forte in A (→GE)

in FE (→EE1)

sempre  in EE2
..

In the main text we provide the indication as it is in A, that is in its specified form – Chopin most probably wrote first  before the 2nd crotchet in the bar and then expanded the indication to a form that was supposed to attract the performer's attention to maintain the dynamics, emphasising the triumphant nature of this section.

category imprint: Differences between sources; Corrections & alterations

issues: Corrections in A

b. 294

composition: Op. 49, Fantaisie in F minor

c1 in chord in A (→GE)

No c1 in FE (→EE)
..

The missing c1 in FE (→EE) must be a mistake resulting from the sometimes poorly visible middle notes of chords on ledger lines.

category imprint: Differences between sources

issues: Errors in FE , Uncertain notes on ledger lines