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b. 28
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composition: Op. 49, Fantaisie in F minor
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In FE (→EE1) there is no category imprint: Interpretations within context; Differences between sources issues: EE revisions , Errors in FE , Errors repeated in EE |
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b. 28
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composition: Op. 49, Fantaisie in F minor
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The unquestionable A slurring was inaccurately recreated in the remaining sources. In all editions, the slur ending on the 3rd beat reaches the 4th beat; it almost certainly resulted from a misunderstanding of the Chopinesque slur, clearly encompassing the crotchet on the 3rd beat (f2). The origin of the difference in the first half of the bar is less clear, since a similar discrepancy is present in analogous bar 36. Such compliance points to an intentional change, although inaccuracies and simplifications in the [FC] notation or FE cannot be ruled out. In the main text we give the A version; taking into account the possible authenticity of the slurs having been combined between the 1st and 2nd beats, we suggest a modified FE version as an alternative solution. category imprint: Differences between sources issues: Inaccuracies in GE , Inaccuracies in FE |
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b. 28-29
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composition: Op. 49, Fantaisie in F minor
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In A (→GE) the slur encompassing the phrase in bars 29-30 clearly starts from a1 on the 4th beat of bar 28. The fact that it starts later in FE (→EE) almost certainly resulted from a misinterpretation of the A slur by the copyist or of the [FC] slur by the engraver of FE. category imprint: Differences between sources issues: Inaccuracies in FE |
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b. 28
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composition: Op. 49, Fantaisie in F minor
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A long accent in GE is a rare example of the use of this mark with no roots in the basis, which is A in this case. category imprint: Differences between sources issues: Long accents , Inaccuracies in GE |
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b. 28-36
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composition: Op. 49, Fantaisie in F minor
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The g-c1-e1 chord on the 2nd beat of bars 28 and 36 is the initial version – it is already present in FCs. Chopin removed g in bar 28 while proofreading FE1 or earlier, while revising [FC], while in bar 36 – while proofreading FE2. The reason could have been to avoid parallel octaves with the melodic voice (in bar 28 latent, while in bar 36 real). We are dealing with a somewhat similar situation in the autograph of the Ballade in A category imprint: Differences between sources; Corrections & alterations issues: EE revisions , Accompaniment changes , Authentic corrections of FE |
to the top note of the first crotchet (a2). The patent mistake – cf. bar 36 – was rectified only just in 
, Op. 47 – in three analogous places we can probably see three stages of introducing a change consisting of the removal of the fifth of the dominant seventh chord (d) in one of the accompanying voices, in bar 56 the note is already absent, in bar 60 it is deleted, in bar 107 it remained undeleted.