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Op. 49, Fantaisie in F minor

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b. 52

composition: Op. 49, Fantaisie in F minor

Staccato dot in A (→GE)

No mark in FE (→EE)
..

The missing dot is probably an oversight by the copyist in [FC] or by the engraver of FE (→EE).

category imprint: Differences between sources

issues: Errors in FE

b. 52-53

composition: Op. 49, Fantaisie in F minor

Different accents in A

Long accents in GE

No marks in FE (→EE1)

Short accents in EE2
..

The easiest explanation for why the accents are absent in FE (→EE1) is that they were added to A after [FC] had been finished. In GE all marks were recreated as long accents, while in EE2, in which they were almost certainly added after GE1 – as short accents. In the main text we keep the differences between the marks visible in A.

category imprint: Differences between sources; Corrections & alterations

issues: Long accents , EE revisions , Inaccuracies in GE

b. 54

composition: Op. 49, Fantaisie in F minor

in A (→GE) & EE2

No marking in FE (→EE1)
..

As in bar 43, there are a few possible reasons for the absence of  in FE (→EE1); however, according to us, the option of Chopin removing the indication is highly unlikely. In EE2 it was added after comparison with GE1.

category imprint: Differences between sources

issues: EE revisions , Errors in FE

b. 55

composition: Op. 49, Fantaisie in F minor

B & e in A (→GE) & EE2

d in FE1

B in FE2 (→EE1)
..

The d note, present in FE1, must be erroneous, which is proven by the tie reaching it from the preceding bar, as well as by the fact that it would be a completely unjustified deviation from the structure of analogous motifs. However, the origin of this version is unclear. One could think of a Terzverschreibung error  – d instead of B, which should be in this chord as a tied note. According to us, it is confusion of bars that is more likely – the only correctly engraved note was E, while the remaining ones, d-g-b, were taken from the bottom stave in bar 57, confusingly similar with regard to the top notes. This would explain both the wrong pitch and the presence of 4 notes only in this chord. In FE2 (→EE1) this note was corrected to B, yet without adding e, which we consider a simplified or unfinished correction. Moreover, in both versions it is impossible to sustain the e quaver in the next bar, which is confirmed by the lack of a respective tie.
The correct text of EE2 was most probably drawn from GE1. 

category imprint: Differences between sources

issues: EE revisions , Errors in FE , Errors resulting from corrections , Terzverschreibung error , Authentic corrections of FE , FE revisions

b. 56

composition: Op. 49, Fantaisie in F minor

Dotted quaver in sources

Crotchet suggested by the editors
..

In the main text we give the more logical version of notation used by Chopin in A in the majority of analogous bars. The sources could be including the initial concept of extension of the 2nd quaver in the bar, entered inadvertently.

category imprint: Editorial revisions