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Op. 49, Fantaisie in F minor

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Articulation, Accents, Hairpins
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Articulation, Accents, Hairpins

b. 276-282

composition: Op. 49, Fantaisie in F minor

Half-bar-long  in A

Longer  in GE & EE2

No signs in FE (→EE1)
..

As in analogous bars 109-115, the  hairpins in bar 276, 278, 280 and 282 were almost certainly added by Chopin to A after [FC] had been finished (→FE→EE1). The range of particular marks differs slightly, yet in GE the hairpin begins under the first octave, which cannot be justified. In this form it was then added by EE2.

category imprint: Differences between sources; Corrections & alterations

issues: EE revisions , Inaccuracies in GE , Scope of dynamic hairpins , Corrections in A

b. 277-283

composition: Op. 49, Fantaisie in F minor

3 staccato dots in A

4 dots in GE

No marks in FE (→EE1)

2 dots in GE2
..

Unlike the first time (bars 110-116), in this case in A Chopin provided with staccato dots also the initial L.H. octaves in bar 279, 281 and 283. In this situation we consider the missing dot in bar 277 to be an oversight, and in the main text we provide dots in all four places. A similar addition was introduced already by GE. By contrast, in EE2, which repeated many marks overlooked in FE (→EE1) after GE1, only the dots in bar 277 and 279 were added. See also the note on the L.H. slurs.

category imprint: Differences between sources; Editorial revisions

issues: EE revisions , GE revisions

b. 277

composition: Op. 49, Fantaisie in F minor

Long accent in A & GE2

Long accent suggested by the editors

No mark in GE1

Short accent in FE

2 short accents in EE
..

In A the long accent is placed over the R.H. chord, which, however, certainly does not mean that it concerns the R.H. part only. Therefore, in the main text we move it between the staves, in accordance with the Chopinesque notation of analogous bar 110. The reviser of EE was most probably motivated by a similar idea when adding another accent under the L.H. part. The use of a short accent in FE (→EE) is an inaccuracy, frequent in Chopinesque editions. The absence of the mark in GE1 must be a mistake by the engraver, rectified in GE2 after A. 

category imprint: Differences between sources; Editorial revisions

issues: Long accents , EE revisions , Errors in GE , GE revisions

b. 277

composition: Op. 49, Fantaisie in F minor

No sign in A (→GE)

in FE (→EE)
..

In addition to the accent over the R.H. chord – see the preceding note – FE (→EE) also includes a  hairpin. According to us, the presence of two marks may have resulted from a mistake or an attempt to remedy an inaccuracy, hence the authenticity of the mark in this form is questionable.

category imprint: Differences between sources

b. 279

composition: Op. 49, Fantaisie in F minor

 above chords in A (→GE)

below R.H. chords in FE (→EE)

Long accent under R.H. chord suggested by the editors
..

It is difficult to say what Chopin's motives were when he put such a long mark in a place that appears several times (even if we limit ourselves to the strictest analogy, 4 times – bar 283 and previously bar 112 and 116) and that he marked with clearly shorter signs the other times – long accents (bars 116-118, 277, 281 and 285) or their slightly longer counterparts. Therefore, in the main text we provide a long accent. The position of the marks – see bar 277. 

category imprint: Differences between sources; Editorial revisions

issues: Long accents , Placement of markings