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b. 296-304
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composition: Op. 49, Fantaisie in F minor
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In the main text we provide the A slurs (→GE), consistently marking an internal division in both phrases, most probably to make the performance more malleable. The continuous FE slurs are also undoubtedly authentic and correspond with the calmer phrasing of the first appearance of this theme in bars 127-142. category imprint: Differences between sources |
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b. 296-301
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composition: Op. 49, Fantaisie in F minor
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The four accents in these bars must have been added to A after [FC] had been finished, since it is difficult to assume that the copyist or the engraver could have overlooked all of them (also those in bar 302 and 304). The accents are clearly long, which, however, was reproduced neither in GE nor in EE2 (which was modelled after it). category imprint: Differences between sources; Corrections & alterations issues: Long accents , Inaccuracies in GE , Corrections in A |
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b. 296-308
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composition: (Op. 4), Sonata in C minor, Mvt IV
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In A the f note at the beginning of bar 296 seems to be a semibreve, since it does not have a stem. The same applies to the f1 note in bar 308. In both cases we are dealing with inaccuracies, which is proven by the ties to these notes (they are supposed to be held to the 2nd half of the bar). Therefore, in both bars we consider the version with a minim to be the A text; it was already introduced by GE (→FE,EE,IE). category imprint: Interpretations within context; Differences between sources issues: GE revisions , Rhythmic errors , Errors of A |
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b. 296-297
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composition: (Op. 4), Sonata in C minor, Mvt IV
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In A there is no category imprint: Interpretations within context; Differences between sources; Editorial revisions issues: EE revisions , Accidentals in different octaves , GE revisions , Cautionary accidentals , Last key signature sign , Inaccuracies in A |
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b. 296
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composition: (Op. 4), Sonata in C minor, Mvt IV
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The version of the majority of the editions resulted from a misinterpretation of the tie to f as a slur referring to the R.H. top voice. The authentic tie was added in EE2, most probably by analogy with bar 308. category imprint: Differences between sources issues: EE revisions , Errors in GE |
to the 2nd quaver in bar 296. Chopin's typical inaccuracy was corrected in 
, the 5th quaver, which we include in the main text. On the other hand, we omit the unjustified 
