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b. 62-63
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composition: Op. 49, Fantaisie in F minor
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In these bars GE does not include the dashes marking the range of cresc. It must be a mistake – the marks were overlooked after moving on to the next line. category imprint: Differences between sources issues: Inaccuracies in GE |
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b. 63-64
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composition: Op. 49, Fantaisie in F minor
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In A the slur ends abruptly at the end of bar 63. In this bar, however, the slur line is dashed due to the running-out pen, hence it is uncertain whether the visible ending of the slur was the one intended by Chopin. In bar 64, at the beginning of a new page, there is no ending to the slur. Nevertheless, both GE and FE (→EE) led the slur to the beginning of this bar, which means that both readers of A – the copyist and the engraver of GE – assumed that the slur in bar 63 suggested that it should be continued. In view of the doubts concerning the reliability of the A notation, in the main text we give its interpretation adopted by the editions. category imprint: Graphic ambiguousness; Differences between sources |
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b. 64-67
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composition: Op. 49, Fantaisie in F minor
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In GE1 there are no pedal markings in these bars. The oversight was corrected in GE2. In FE (→EE) the category imprint: Differences between sources issues: Inaccuracies in FE , Errors in GE , GE revisions |
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b. 64-66
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composition: Op. 49, Fantaisie in F minor
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In A (→FE1) there are no accidentals to the last quavers in bars 64 and 65 – a cautionary category imprint: Interpretations within context; Differences between sources; Editorial revisions issues: EE revisions , Accidentals in different octaves , GE revisions , FE revisions , Inaccuracies in A , Errors repeated in FE |
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b. 66
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composition: Op. 49, Fantaisie in F minor
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In A and FE1 the bass clef before the 2nd half of the bar is missing. The patent oversight was corrected in GE and FE2 (→EE). category imprint: Interpretations within context; Differences between sources issues: GE revisions , Errors of A , FE revisions , Errors repeated in FE |