



Pitch
b. 74-75
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composition: Op. 49, Fantaisie in F minor
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In A (→FE) there are no naturals raising e category imprint: Interpretations within context; Differences between sources issues: EE revisions , Accidentals in different octaves , GE revisions , Inaccuracies in A , Errors repeated in FE |
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b. 77
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composition: Op. 49, Fantaisie in F minor
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In the main text we include the cautionary category imprint: Differences between sources issues: Cautionary accidentals , Authentic corrections of FE , FE revisions |
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b. 77-82
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composition: Op. 49, Fantaisie in F minor
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In A (→FE1) there are no flats restoring d category imprint: Interpretations within context; Differences between sources issues: Omissions to cancel alteration , GE revisions , Authentic corrections of FE , Errors repeated in FE |
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b. 78
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composition: Op. 49, Fantaisie in F minor
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The deletions visible in A allow us to decipher the initial version of the R.H. part in this bar: category imprint: Corrections & alterations; Source & stylistic information issues: Corrections in A , Deletions in A , Accompaniment changes , Main-line changes |
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b. 84-85
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composition: Op. 49, Fantaisie in F minor
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The A slurs are unclear in this place – the ending of the slur in bar 84 reaches beyond the bar line, but it does not suggest that it should be led to the 1st quaver in bar 85. Therefore, the interpretation of FE – via [FC] – is wrong, which is additionally supported by the unanimous A versions in analogous bars 171-172 and, above all, 251-252, in which Chopin clearly marked the ending of the slur on the last quaver in bar 251, deleting the initially written ending, reaching too far. As in bars 80-81, in EE the FE slur was considered inaccurate and shortened – in this case almost certainly rightly so. category imprint: Graphic ambiguousness; Differences between sources issues: EE revisions , Inaccuracies in FE , Inaccurate slurs in A |