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Op. 49, Fantaisie in F minor

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b. 311-315

composition: Op. 49, Fantaisie in F minor

Different L.H. accents &  in A

L.H. short accents &  in GE

Different R.H. accents & L.H.  in FE

Different R.H. accents & L.H.  in EE
..

In bar 311, 313 and 315 the A accents clearly differ in terms of their length and – despite certain inaccuracies – certainly concern the L.H. At the same time, the mark in the 2nd half of bar 311 reaches the quaver, hence, when interpreted literally, it looks like a  hairpin. It confused the engravers, who also reproduced the analogous marks in bar 313 and 315 in the same way. It is worth noting that the versions of A and FE are highly compliant, hence the difference in the position of the accents (short) at the beginning of these bars is particularly striking – contrary to the unambiguous A notation, they were assigned to the R.H., which suggests that [FC] was inaccurate in this respect. In EE it was also the second mark in bar 315 that was assigned to the R.H.

category imprint: Graphic ambiguousness; Differences between sources

issues: Long accents , Inaccuracies in FE , Scope of dynamic hairpins , GE revisions

b. 312

composition: Op. 49, Fantaisie in F minor

Short accents in A & EE2

Long accents in GE

Short accent in b. 314 in FE (→EE1)
..

The accent in bar 312 could have been added to A after [FC] had been finished, which is indicated by it having been placed differently than the accent in bar 314 (under and not over the octave). The type of accents can give rise to doubts, since they are slightly longer than those at the beginning of bar 311, 313 and 315. The musical context suggests that all five marks should be considered equally (they concern crotchets separated by rests), which is confirmed by the unquestionable long accents in the middle of bar 313 and 315, clearly longer than all the remaining ones. In GE the two discussed accents were reproduced as long, while in FE (→EE1) the only mark in this edition in bar 314 – as short. In EE2 both accents are short – the former on the basis of FE2, while the latter – inaccurately repeated after GE1.
Despite their differing position, once under and once over the octave, both marks in A clearly concern the L.H., hence, for the sake of clarity, we place both under the octaves. In GE both accents were placed over the octaves; moreover, it was performed in an ambiguous manner, as far as their assignment to one of the hands is concerned.

category imprint: Graphic ambiguousness; Differences between sources

issues: Long accents , EE revisions , Placement of markings , GE revisions

b. 313

composition: Op. 49, Fantaisie in F minor

..

In A both L.H. chords were written twice. The initial entry was crossed out so thoroughly that it is only the shape and size of the blot that could allow us to assume that the topmost note was a d1, while the entire chord could have looked like as follows: d-e-g-d1. In the 2nd half of the bar Chopin initially wrote a d1-e1-g1-b1 chord (as a crotchet) and a crotchet rest.

category imprint: Corrections & alterations; Source & stylistic information

issues: Corrections in A , Deletions in A , Accompaniment changes

b. 315

composition: Op. 49, Fantaisie in F minor

..

In FE1 there is a  to the 3rd R.H. quaver, instead of a . The patent mistake was corrected in FE2.

category imprint: Interpretations within context; Differences between sources

issues: Errors in FE , FE revisions

b. 315

composition: Op. 49, Fantaisie in F minor

No sign in A (→GE) & FE

in EE

[] suggested by the editors
..

The missing  mark after  in bar 314 in A (→GE) and FE is probably Chopin's oversight related to the transition between the pages. Due to this reason, in the main text we suggest adding the mark before the change in the figuration nature; such an addition was also introduced by EE. On the other hand, in spite of the change in texture, bars 316-318 are based on the same diminished four-note chord as bars 314-315, hence it seems possible to hold the pedal longer, at least until the middle of bar 316, which we suggest as an alternative solution in this bar. Generally, lonely  marks can often be found in Chopin's pieces, and sometimes it can be related to the difficulty in determining a precise moment the pedal should be released, particularly in similar situations to the one described here, cf., e.g. the Etude in D, Op. 25 No. 8, bars 19-20 and 27, the Prelude in C minor, Op. 45, bars 80-81 or the Waltz in C minor, Op. 64 No. 2, bars 15-16.

category imprint: Differences between sources; Editorial revisions

issues: EE revisions , No pedal release mark