Rhythm
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b. 234
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composition: Op. 49, Fantaisie in F minor
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As in analogous bar 154, the FE rhythm (→EE) conveys the initial version. In the main text we give the rhythm as corrected by Chopin in A (→GE), after [FC] (→FE) had been finished. In the discussed bar Chopin did not finish the correction – he overlooked the second pair of augmentation dots to the crotchet L.H. octave. This is – next to the graphic details of the autograph's notation described the first time – further proof that a change was being introduced into A. category imprint: Interpretations within context; Differences between sources; Corrections & alterations issues: EE revisions , Corrections in A , GE revisions , Rhythmic errors , Inaccuracies in A |
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b. 244
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composition: Op. 49, Fantaisie in F minor
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The FE rhythm (→EE) must be a mistake, probably committed by the copyist in [FC]. Moving the semiquaver beyond the 3rd quaver in the L.H. triplet was an arbitrary decision by the engraver of GE – see bars 77-82 and 245-249. category imprint: Differences between sources issues: Errors in FE , GE revisions , Dotted rhythms and triplets , Dotted or even rhythm |
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b. 245-249
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composition: Op. 49, Fantaisie in F minor
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At the end of bar 245, 247 and 249, as in bars 78-82 and 165-169, the GE notation is an arbitrary revision of this edition, contrary to the A notation and the resulting performance. It is noteworthy that in the third appearance of this theme Chopin wrote down the rhythm of the bottom voice three times differently than before, although the performance, indicated by the alignment of notes in both voices, is undoubtedly the same. category imprint: Differences between sources issues: GE revisions , Dotted rhythms and triplets |
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b. 245-249
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composition: Op. 49, Fantaisie in F minor
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As in bars 77-82, moving the semiquavers in bar 245 and 248-249 beyond the 3rd quaver of a respective L.H. triplet was an arbitrary decision by the revisers of GE and EE. category imprint: Differences between sources issues: EE revisions , GE revisions , Dotted rhythms and triplets |
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b. 313
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composition: Op. 49, Fantaisie in F minor
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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 category imprint: Corrections & alterations; Source & stylistic information issues: Corrections in A , Deletions in A , Accompaniment changes |
-d1. In the 2nd half of the bar Chopin initially wrote a d1-e1-g