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b. 44-58
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composition: Op. 49, Fantaisie in F minor
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In bar 44, 46, 55 and 57 we recreate the Chopinesque notation of slur endings used in A. They reach the end of the bar, which means that the rhythmic value of the last note should be observed to the end. This non-standard notation was not recreated by any of the sources – in GE 3 slurs were led to the crotchet in the next bar (bar 45, 47 and 58), while the remaining one, like all slurs in FE (→EE), reaches only the semibreve. category imprint: Differences between sources issues: GE revisions , FE revisions , Tenuto slurs |
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b. 45
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composition: Op. 49, Fantaisie in F minor
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According to us, the augmentation dot to A category imprint: Differences between sources issues: Inaccuracies in GE , Inaccuracies in FE |
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b. 45-59
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composition: Op. 49, Fantaisie in F minor
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It is difficult to guess Chopin's intention concerning the beginnings of the slurs in bar 45, 47-50 and 58-59. In A they start over the 2nd, 3rd or 4th quaver in the bar (and in bar 58, which we discuss separately, even over the first one). However, there are no musical reasons to differentiate between them, hence in the main text we average them out, writing all of them from the 3rd quaver, which corresponds to the beginnings of characteristic motifs, starting from a fourth, in their basic form. According to us, the versions of the editions do not contain any authentic elements – they recreate the A notation as understood by the GE engraver and copyist and then, respectively, the engravers of FE (through [FC]) and of EE (on the basis of FE). category imprint: Graphic ambiguousness; Differences between sources issues: EE revisions , Inaccuracies in GE , Inaccurate slurs in A , GE revisions , EE inaccuracies , FE revisions |
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b. 47
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composition: Op. 49, Fantaisie in F minor
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The vertical line visible in A under the c1 note on the 2nd beat looks like an additional crotchet stem. It is possible that it indicates that the note should be extended here, but it would be difficult to justify why the respective notes in analogous figures are not extended. Therefore, the alleged crotchet stem is almost certainly an insignificant pen stroke, which would often happen to Chopin at the time of writing notes on ledger lines above the stave (most often c1) – see, e.g. the Mazurka in B category imprint: Differences between sources issues: EE revisions , Uncertain notes on ledger lines |
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b. 47-59
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composition: Op. 49, Fantaisie in F minor
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In bars 47-50 and 58-59 in the main text we keep the unquestionable A notation, in which the 2nd quaver in the bar is extended to a crotchet with an additional stem, pointing upwards. These stems having been led to the top quaver beam in the editions most probably resulted from a misunderstanding of the A notation. The augmentation dots to these quavers in bar 48 and 50 could be a consequence of Chopin's ad hoc proofreading, performed only in these 2 bars, aimed to extend the second quavers in these bars in a simplified manner (without removing fragments of stems), which is required by strict notation to hold them until the following minims. category imprint: Differences between sources; Editorial revisions issues: GE revisions , FE revisions |
is Chopin's mistake (perhaps an echo of the initial version of notation such as in 
