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Op. 49, Fantaisie in F minor

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b. 231-232

composition: Op. 49, Fantaisie in F minor

..

In A Chopin did not write flats in the 3rd triplet in each of these bars, which was repeated by FE1. In FE2 flats were added only in bar 232, while the notation is fully correct in GE and EE.

category imprint: Interpretations within context; Differences between sources

issues: EE revisions , Accidentals in different octaves , GE revisions , FE revisions , Inaccuracies in A , Errors repeated in FE

b. 238

composition: Op. 49, Fantaisie in F minor

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The first quaver in the last triplet was initially written as B in A. Eventually, Chopin decided to wait with the change of the middle note of the broken chord to the end of the bar, as in the next bar.

category imprint: Differences between sources; Corrections & alterations

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

b. 238

composition: Op. 49, Fantaisie in F minor

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In FE1 there is an f-a1 tenth instead of the f-f1 octave, which is a mistake.

category imprint: Interpretations within context; Differences between sources

issues: Errors in FE , Terzverschreibung error , FE revisions

b. 240

composition: Op. 49, Fantaisie in F minor

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The last R.H. quaver in FE1 is an f2-b2 fourth, which is a mistake. It was corrected – perhaps at Chopin's request – in FE2 (→EE).

category imprint: Interpretations within context; Differences between sources

issues: Errors in FE , Authentic corrections of FE , FE revisions

b. 241

composition: Op. 49, Fantaisie in F minor

f in A (→GE)

e in FE

e with  in EE
..

It is difficult to say whether the A version was intended by Chopin, as it deviates from the figuration scheme both in the adjacent bars and in analogous places the times this section has previously appeared (bars 73-75 and 160-162) – in all the remaining figures the 3rd and 5th quavers are identical, while the chord without a seventh appears only just in the 3rd bar (in this case 242). Chopin could have confused the beginning of the discussed bar with the beginning of the next one, which can be indicated by the missing  to the topmost note, superfluous in bar 242. Taking that into account, in the main text we give the FE version, which almost certainly resulted from a Chopinesque correction at the stage of proofreading FE1. In the main text we add a cautionary  to the discussed note. The accidental was also added in EE.

category imprint: Differences between sources

issues: Errors of A , Authentic corrections of FE