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Op. 49, Fantaisie in F minor

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b. 1-6

composition: Op. 49, Fantaisie in F minor

..

In bars 1-2 and 5-7 the opening sequence of the Fantasy is written down in FCs with the use of one-part notation, without the L.H. part. Moreover, nothing points to the fact that the motifs should be doubled in the lower octave; however, it is highly likely:

  • All stems are pointing upwards, although Chopin would generally write stems under noteheads. This suggests that space was left for the L.H. part (below the written-down line).
  • No rests for the part of the second hand.
  • This phrase having been texturally diversified in bars 11-12, in which the melody is doubled and sometimes even tripled in lower octaves, is natural only when both hands perform in unison already in bars 1-2 and 5-7. Otherwise the contrast seems too considerable and unjustified by the phrase development.

See also bar 7.

category imprint: Interpretations within context; Source & stylistic information

issues: Bass register changes

b. 1-16

composition: Op. 49, Fantaisie in F minor

No L.H. markings in A & FE (→EE1)

L.H. dots & slurs in GE1

L.H. slurs & dots in EE2

L.H. slurs & dots in GE2
..

In bars 1-2, 5-7, 11-12 and 15-16, in GE and in EE2 (probably on the basis thereof) separate articulation markings for the L.H. were added (staccato dots and slurs under the stave). In bars 1-2 in EE2 only slurs were added, since this edition does not contain dots in the R.H. part. In these two bars it is also GE2 that contains slurs only, since the dots at the beginning of the piece were replaced with a slur, also in the R.H. These additions cannot be authentic; moreover, they are superfluous, since Chopin would very often omit markings for a left-hand part led in unison, considering them obvious (although he was not always consistent – there are examples of both parallel parts being provided with markings – one should not assume that the lack of markings could suggest the use of a different kind of articulation).

category imprint: Differences between sources

issues: EE revisions , GE revisions

b. 1-2

composition: Op. 49, Fantaisie in F minor

2 staccato dots in A (→GE1)

1 dot in FE (→EE1)

No marks in EE2

Slur in GE2

4 dots suggested by the editors
..

The missing second staccato dot in FE (→EE) may have resulted from an oversight by Fontana in [FC] or by the engraver of FE. It is also likely that Chopin added dots in A after [FC] had already been finished, and then added only the first one while proofreading FE1. The absence of both dots in EE2 must be an oversight, while the slur in GE2 – an arbitrary revision to make the articulation of the 1st crotchet resemble the articulation of the subsequent crotchets in this phrase. In the main text we suggest the dots of A (→GE1) and two further ones, modelled after the more accurate notation of the sources in analogous bars.

category imprint: Differences between sources; Editorial revisions

issues: Errors in FE , Errors in EE

b. 1

composition: Op. 49, Fantaisie in F minor

Souzzo in A (→GE) & EE2

Sonzzo in FE (→EE1)
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The misspelled name of the dedication's addressee almost certainly resulted from a mistake by the engraver of FE1. It was not corrected until EE2, probably on the basis of a comparison with GE.

category imprint: Differences between sources

issues: EE revisions , Errors in FE , Dedications

b. 1

composition: Op. 49, Fantaisie in F minor

Marcia. Grave in A (→GE)

Tempo di Marcia in FE (→EE1)

Tempo di Marcia. Grave in EE2
..

It is difficult to say which of the two authentic versions concerning the tempo/character of the introduction – A and FE – was later and whether Chopin considered the last change to be final (the deletion visible in A shows that both indications already resulted from changes). In the main text we provide the more detailed indication of the principal source, that is A.
In EE2 Grave was undoubtedly added after comparing it with GE1.

category imprint: Differences between sources; Corrections & alterations