b. 27
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composition: Op. 49, Fantaisie in F minor
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In FCs the notation of the 2nd beat in the R.H. part is ambiguous (see transcript) – the top voice a1 semiquaver was written clearly earlier than the bottom voice b (of unspecified rhythmic value). According to us, it is probably an inaccuracy resulting from, e.g. corrections to the Chopinesque sketch (change of g1 to a1?), hence we interpret this notation in accordance with the final version. category imprint: Graphic ambiguousness; Interpretations within context; Source & stylistic information |
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b. 27-28
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composition: Op. 49, Fantaisie in F minor
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The hairpin could have been added to A after [FC] had been finished, although an oversight by the copyist or by the engraver of FE is possible as well. The elongated mark in GE is not supported by the A notation. The hairpin added by EE2 is of the same range as the one in GE, which is one of the pieces of evidence for GE1 being used while working on EE2. category imprint: Differences between sources issues: Inaccuracies in GE |
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b. 27-35
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composition: Op. 49, Fantaisie in F minor
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We add cautionary flats before b1 in bars 27 and 35 in the main text. category imprint: Editorial revisions |
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b. 27
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composition: Op. 49, Fantaisie in F minor
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GE added an unjustified (reminder accidental?) to g1. category imprint: Differences between sources issues: GE revisions |
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b. 28-36
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composition: Op. 49, Fantaisie in F minor
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The difference between A and FE is present, respectively, in both analogous bars 28 and 36. Both versions are most probably authentic with the version with repeated c2 being probably earlier, as there is no tie in FCs. According to us, it is rather unlikely that Chopin would have removed the ties in [FC] or while proofreading FE1; however, he could have added them to A after the copy had been prepared, although it is equally difficult to confirm it. In the main text we follow the principle source, that is A. category imprint: Differences between sources issues: EE revisions |