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Op. 49, Fantaisie in F minor

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b. 148

composition: Op. 49, Fantaisie in F minor

d2(3) in A (→GE) & FE

d2(3) in EE
..

The reviser of EE took the  raising d1 to d1 in the preceding bar (added in FE and repeated by EE) at face value, which made him add naturals raising d2(3) to d2(3). Assuming that d1 is correct, it is naturally the right decision – the entire passage must be consistent and feature either d or d. This is one of the arguments against the authenticity and correctness of this d1 – whoever (Chopin or reviser) added the  in bar 147 in the belief that it changed the text would have also added  in the discussed bar as well, at least at the pitch of d2. On the other hand, an accidental in bar 147 only makes sense when it is a cautionary accidental, which points to a mistake by the reviser, described in the note concerning that bar.

category imprint: Differences between sources; Source & stylistic information

issues: EE revisions

b. 149-152

composition: Op. 49, Fantaisie in F minor

..

From the 2nd half of bar 149 to the end of bar 152 the R.H. part does not contain any accidentals in A, as a result of which the entire figuration, based on an A7 chord, would include g notes, instead of g. GE added all necessary flats, while in FE they were supplemented gradually and randomly, hence it is only just EE that shows the correct text (in FE1 flats were added to g3 in bar 151 and to g in bar 152, while in FE2 also to g1 in bar 149, g2 in bar 150 and G in bar 152).

category imprint: Interpretations within context; Differences between sources

issues: EE revisions , Accidentals in different octaves , GE revisions , Omission of current key accidentals , Errors of A , Authentic corrections of FE , Last key signature sign , Errors repeated in FE

b. 155-156

composition: Op. 49, Fantaisie in F minor

3 short accents in A (→GE) & EE2

1 short accent in FE (→EE1)

1 or 3 long accents, our variant suggestion
..

As in bars 68-69, both the A version with three accents and the FE one with one accent are authentic, hence they can be regarded as equal. Contrary to the aforementioned bars, as well as to the third analogous place in bars 235-236, in this case the A accents do not seem long, and none of the editions reproduced them as such. According to us, however, it is highly unlikely that this difference could have stemmed from something other than the inaccuracies in the notation of the discussed bars. In the variant solution of the main text (due to the number of accents), we suggest long accents.
In EE2 the accents were added on the basis of GE1.

category imprint: Differences between sources; Editorial revisions

issues: Long accents , EE revisions

b. 159

composition: Op. 49, Fantaisie in F minor

..

The first quaver in the last triplet was initially written as g in A (it was certainly supposed to be g). In the final version Chopin decided to shift the change of the middle note of the broken chord to the end of the bar.

category imprint: Corrections & alterations; Source & stylistic information

issues: Corrections in A , Deletions in A , Accompaniment changes

b. 160

composition: Op. 49, Fantaisie in F minor

g in A (→GE)

f in FE (→EE)
..

The FE (→EE) version with f as the last quaver in the bar must be a mistake, resulting from the similarity between the alternating figures in bars 160-161.

category imprint: Differences between sources

issues: Errors in FE