|
b. 43
|
composition: Op. 49, Fantaisie in F minor
category imprint: Differences between sources issues: Errors in FE , Terzverschreibung error , Authentic corrections of FE |
||||||||||||
|
b. 43-48
|
composition: Op. 49, Fantaisie in F minor
..
The whole-bar pedalling entered into A in bar 43, 45 and 47-48 was inaccurately recreated in GE1 – the markings in bar 48 were overlooked. The defect was corrected in GE2. These markings are absent in FE1, which can also be an oversight by the copyist in [FC] or by the engraver of FE (the other possibility – the markings having been added to A later – seems less likely in this context). In the FE2 (→EE) pedalling, probably added by Chopin, it is the consistent use of half-bar pedalling that is noteworthy, contrary to the whole-bar pedalling present in A, while in analogous bars 54-59 – present in all sources. It could be considered an alternative concept, taking into account the effect of the written-down harmonic legato (holding the notes of chords with one's fingers) to a greater extent. In the main text we suggest a variant solution, that is holding the pedal to the end of the bar with an option to release it already in the middle of the bar. category imprint: Differences between sources issues: EE revisions |
||||||||||||
|
b. 43
|
composition: Op. 49, Fantaisie in F minor
..
The absence of the first poco in GE1 is a mistake by the engraver, who put it in the preceding bar. The mistake was corrected in GE2. It is difficult to definitely say what the origin of this poco having been placed differently in A and FE is. It could have been related to the corrections visible in A – Chopin changed there the layout of particular elements of the poco - - a poco indication, while the placement of the first poco in FE – in the middle of bar 43 – corresponds to the initial, deleted A notation. category imprint: Differences between sources issues: Errors in GE , GE revisions |
||||||||||||
|
b. 43
|
composition: Op. 49, Fantaisie in F minor
..
The beginning of the A slur falls more or less on the middle of the 1st beat of the bar, yet it is uncertain with which note it is supposed to be combined. Counting horizontally, it is closer to the 2nd note, and this is how it was interpreted in GE. According to us, however, one should take into account the direct distance. In FE (→EE) the slur starts from the beginning of the bar, as was written by Chopin in analogous bar 54. Both versions can be considered equal, yet in the main text we reproduce the notation of the principal source, that is A. category imprint: Differences between sources |
||||||||||||
|
b. 44-57
|
composition: Op. 49, Fantaisie in F minor
..
In A Chopin wrote fermatas only over the semibreve chords in bar 44, 46, 55 and 57, as well as over the doubled octave in bar 53. Through [FC] this notation found its way to FE. In the remaining editions separate marks for the L.H. part were added (generally under the bottom stave) – in GE in all places except bar 55, while in EE – except bar 55 and 57. In the main text we add fermatas under the bottom stave in all these places. category imprint: Differences between sources; Editorial revisions issues: EE revisions , GE revisions |
1 in 
