mUltimate Chopin

Op. 49, Fantaisie in F minor

Text Compare Notes Sources Description
Select: 
Category
All
Graphic ambiguousness
Interpretations within context
Differences between sources
Editorial revisions
Corrections & alterations
Source & stylistic information
Pitch
All
Pitch
Rhythm
Slurs
Articulation, Accents, Hairpins
Verbal indications
Pedalling
Fingering
Ornaments
Shorthand & other
Importance
All
Important
Main
Undo Clear

Pitch

b. 109

composition: Op. 49, Fantaisie in F minor

..

In FE1 the  to the top note of the octave at the beginning of the 2nd half of the bar (d) was overlooked. The mistake was rectified in FE2.

category imprint: Interpretations within context; Differences between sources

issues: Errors in FE , FE revisions

b. 110-114

composition: Op. 49, Fantaisie in F minor

..

In the main text we add cautionary flats to d1-d2 in bar 110 and 114.

category imprint: Editorial revisions

b. 112-116

composition: Op. 49, Fantaisie in F minor

E1-E in sources

B2-B1 suggested by the editors
..

When compared with analogous bar 279 and 283, the source version of the 1st L.H. octave in bar 112 and 116 is more static, harmonically speaking, which results from the tonic E chord being repeated four times in root position – in bar 110, 112, 114 and 116. According to us, it is highly likely that Chopin reduced here the intended, more harmonically distinct version due to the limited range of his piano, which reached only C1. Due to the above, in the main text we suggest a version modelled on bar 279 and 283. Cf. the Scherzo in C minor, Op. 39, bar 241.

category imprint: Editorial revisions

issues: Constraint from piano range

b. 112

composition: Op. 49, Fantaisie in F minor

a in A (→GE) & EE2

b in FE (→EE1)
..

b in the last R.H. chord is almost certainly a mistake by the engraver of FE or by the copyist in [FC]. This is proven by the repetitions of this motif in bars 116-118.

category imprint: Differences between sources

issues: EE revisions , Errors in FE

b. 116-119

composition: Op. 49, Fantaisie in F minor

Two-note slurs in A (→GE)

Three-note slurs in FE (→EE)
..

It is difficult to say whether the A slurs are inaccurate or whether Chopin indeed wanted to encompass with them only the pair of chords at the end of bars 116-118. The comparison with analogous bars 283-286 suggests that the discussed slurs are inaccurate, since two out of the three slurs there clearly go beyond the bar line, indicating the A chords as their final notes. Due to the above, in the main text we give the FE (→EE) slurs, considering them a contextual interpretation of the A notation. The GE slurs are based on the literal interpretation of A.

category imprint: Graphic ambiguousness; Differences between sources

issues: Inaccurate slurs in A