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b. 1
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composition: Op. 49, Fantaisie in F minor
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In EE the authentic title of the piece – Fantasy [Fantaisie] – was provided with a numeral, Second [Seconde], to emphasise that Chopin had already composed a fantasy (Op. 13). This kind of numbering of subsequent pieces of the same genre was sometimes used by Chopin himself (e.g. in the Concerto in F minor, Op. 21 or in the Nocturne in D category imprint: Differences between sources issues: EE revisions |
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b. 2-17
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composition: Op. 49, Fantaisie in F minor
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In bars 2-3, 12-13 and 16-17, in the main text we include the unanimous pedalling added by Chopin to A (→GE) and added at the stage of proofreading FE2 (→EE). The fact that the markings were added to A most probably after [FC] had already been prepared is proven by their absence in FE1. category imprint: Differences between sources issues: Authentic corrections of FE |
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b. 3
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composition: Op. 49, Fantaisie in F minor
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In FCs on the 4th beat of the bar there is only a c2-f2 fourth in the R.H., which is most probably a mistake by the copyist, committed at the time of reading Chopin's draft (perhaps vague). In this place, omitting the chord's third is totally unjustified, neither by the chord's sound nor by the voice leading. It is all the more unlikely given that this empty interval would also have to appear in bar 13, which is marked as a repetition of bar 3 in FCs. category imprint: Differences between sources; Source & stylistic information |
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b. 3-19
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composition: Op. 49, Fantaisie in F minor
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One of the intriguing features of FCs is the almost complete absence of augmentation dots in If the Chopinesque sketch was actually devoid of dots, one could assume that Chopin first wrote bare quavers in these places and then added semiquaver beams "en bloc", omitting the majority of dots due to their obvious nature in this situation. category imprint: Interpretations within context; Corrections & alterations; Source & stylistic information |
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b. 3
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composition: Op. 49, Fantaisie in F minor
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The FE1 version featuring b category imprint: Differences between sources issues: Errors in FE , Authentic corrections of FE |
, Op. 27 No. 2); nevertheless, in this case, it does not come from the composer. What is more, on the collective title page, the Fantasy was described as Great – Grand Fantasia – which must have been arbitrarily added by the publisher.
groups. The dots are present only in bar 3 next to d
1-b1-e2 chord and in bar 22 next to a1, which means that 56 dots were omitted. It could be a feature of Chopin's sketch autograph reproduced by Fontana or facilitation applied by the copyist, who, perhaps, was copying it under time pressure. We prefer the former – if Fontana had been omitting dots due to time pressure, he could have added them later. On the other hand, since he was copying Chopin's incomplete and, consequently, ambiguous notation, he could be afraid that he might guess it incorrectly.
