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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. 316

composition: Op. 49, Fantaisie in F minor

Long accent in A

Short accent in GE

No mark in FE (→EE)
..

In A the accent over a3 is clearly longer than the next ones. According to us, it is an inaccuracy, since there is no reason to differentiate between accents in such homogeneous texture (a short accent is also over the L.H. minim chord in this place). GE reproduced it as a short accent. The absence of the mark in FE (→EE) could be explained by an oversight by the copyist or by the engraver, yet further differences in the type and number of accents between A and FE suggest that Chopin was adding these marks independently to A and to [FC] or while proofreading FE. However, even under such circumstances, the missing accent seems to be an oversight.

category imprint: Graphic ambiguousness; Differences between sources

issues: Long accents , Inaccuracies in GE , Inaccuracies in A

b. 316-318

composition: Op. 49, Fantaisie in F minor

Short accents in A (→GE)

Different  in FE (→EE)

Long accents after FE
..

When interpreted literally, the FE (→EE) marks could be interpreted as  hairpins (particularly the second mark in bar 317, longer than the remaining ones), and this is how we reproduce them in our transcriptions. The clear difference in the marks' length and position with respect to the A accents probably resulted from the fact that Chopin added them twice and independently – to A and to [FC] or while proofreading FE1. This would support the interpretation of the FE marks as long accents (as the context suggests), hence – accepting their authenticity – we suggest them in this form as an alternative version to the short A accents.
See also the note in bar 318.

category imprint: Differences between sources; Editorial revisions

issues: Long accents

b. 318

composition: Op. 49, Fantaisie in F minor

No mark in A (→GE)

 in FE (→EE), literal reading

Long accent in FE (→EE), contextual interpretation

Short accent suggested by the editors
..

According to the context, the missing second accent in this bar in A (→GE) is Chopin's mistake, which is additionally supported by the presence of a similar mark in FE (→EE). Due to the above, in the main text we add a short accent, complementing the sequence of such marks entered into A.

category imprint: Differences between sources; Editorial revisions

issues: Long accents , Errors of A

b. 319

composition: Op. 49, Fantaisie in F minor

Long accent in A (→GE)

No mark in FE (→EE1)

Short accent in EE2
..

In the case of a single mark, it is difficult to say whether its absence in FE resulted from an oversight or whether Chopin added this accent to A after [FC] had been finished. The length of this accent is also uncertain, particularly when compared with the mark at the beginning of bar 318. The interpretation we adopted is supported by (in addition to the musical context – long note) a combination of graphic factors – it is longer than the marks in bar 317 and narrower and tilted to a lesser extent than the accent in bar 318. The engraver of GE was also influenced by the mark's length to a certain extent – in this edition the respective mark is slightly longer than the previous ones. 

category imprint: Graphic ambiguousness; Differences between sources

issues: Long accents , Inaccuracies in A

b. 319

composition: Op. 49, Fantaisie in F minor

in A & FE (→EE)

Longer  in GE
..

The  hairpin in A clearly concerns the 2nd half of the bar. However, the mark begins slightly before the dotted crotchet, which was enough to make the engraver of GE extend the hairpin so that it occupies the entire bar.

category imprint: Differences between sources

issues: Scope of dynamic hairpins , GE revisions