b. 76-77
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composition: Op. 49, Fantaisie in F minor
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In A the slur in bar 76, last in a line, suggests that it should be continued, which is not confirmed by the slur at the beginning of bar 77. The comparison with analogous situations in bars 163-164 and 243-244, which are not at the beginning or end of a line in A, does not make it easier to guess Chopin's intention, since in bars 163-164 there is a continuous slur, whereas in bars 243-244 the slur is divided. In this situation, to the main text we adopt the FE solution, which could be considered compromise – the slurs meeting on the 1st quaver in bar 77. category imprint: Graphic ambiguousness; Differences between sources |
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b. 76
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composition: Op. 49, Fantaisie in F minor
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In the main text we suggest slurs modelled on analogous bar 163 – see bars 68-75. category imprint: Editorial revisions |
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b. 77
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composition: Op. 49, Fantaisie in F minor
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In the main text we include the cautionary to e1 added – perhaps at Chopin's request – at the stage of proofreading FE2 (→EE). category imprint: Differences between sources issues: Cautionary accidentals , Authentic corrections of FE , FE revisions |
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b. 77-82
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composition: Op. 49, Fantaisie in F minor
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In A (→FE1) there are no flats restoring d3 in bar 77 (5th quaver) and e3 and e2 in bar 78 and 82 (2nd quaver from the final triplet in the top voice). These patent inaccuracies, typical of Chopin, were corrected in GE and FE2 (→EE). category imprint: Interpretations within context; Differences between sources issues: Omissions to cancel alteration , GE revisions , Authentic corrections of FE , Errors repeated in FE |
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b. 77
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composition: Op. 49, Fantaisie in F minor
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The slurs were probably added to A after [FC], on which FE was based, had been finished. In EE2 they were added after comparing it with GE1. category imprint: Differences between sources issues: EE revisions |