Pitch
b. 10
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composition: Op. 49, Fantaisie in F minor
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For the 3rd crotchet in the bar we choose the unquestionable A version (→GE). The same version, although written down with errors, is to be seen in FE1. The mistakes were corrected in FE2, yet, according to us, another mistake was committed in the act – the topmost note was changed from a1 to c2. The erroneous FE2 version was subject to further corrections and changes in the preserved teaching copies. In some respects, interpretation of these additions is problematic, particularly in the case of the FES entries, where we suggest two possible interpretations. category imprint: Interpretations within context; Differences between sources; Corrections & alterations issues: EE revisions , Errors in FE , Errors resulting from corrections , Terzverschreibung error , Annotations in FES , Authentic corrections of FE , Authentic post-publication changes and variants , Annotations in FEJ , FE revisions |
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b. 15-16
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composition: Op. 49, Fantaisie in F minor
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In FCs these bars are written in shorthand as empty bars marked with digits 1 and 2, whereby in bar 16 digit 2 is followed by a C-c minim (each note provided with a separate stem). However, as no other bars were marked with these digits, it is unclear which bars they should be referred to. There are 3 possibilities:
The first two possibilities give the same result, compliant with the published version, in which the L.H. part is devoid of octave doublings. On the other hand, the third interpretation leads to a version featuring octaves, which we suggest in the main text – see the note below. category imprint: Interpretations within context; Source & stylistic information |
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b. 15-16
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composition: Op. 49, Fantaisie in F minor
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It seems highly likely that Chopin did not repeat the L.H. octave doublings in these bars – cf. bars 11-12 – only due to the fact that the pianos at his disposal did not include C1, necessary to end the phrase in a consistent manner. This is supported by the presence of similar, sometimes even more obvious textural inconsistencies in a few other pieces, e.g. in the Scherzo in C minor, Op. 39, bar 197 and 315 or in the Polonaise in E, Op. 22, bar 84. In this very fragment of the Fantasy an additional argument is provided by the FCs notation, in which the minim in bar 16 is a C-c octave with an 8 indicating that the bottom note should be doubled in an octave, C1-C (see the note above). Assuming that it approximately corresponds to the notation of the Chopinesque sketch, one can suppose that Chopin 'automatically' wrote here the musically necessary C1, and only then (or maybe even only just while preparing the fair-copy) did he realise that the note goes beyond the piano's range and removed the bottom octave doublings in bars 15-16. This justifies the suggested editorial addition, since one could believe that the composer would have actually introduced the notes going beyond the available piano's range if he had had the right instrument at his disposal. category imprint: Editorial revisions issues: Bass register changes |
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b. 17
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composition: Op. 49, Fantaisie in F minor
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In A and FE the raising g2 to g2 is missing. Chopin's patent inaccuracy was corrected in GE and EE. category imprint: Interpretations within context; Differences between sources issues: EE revisions , Accidentals in different octaves , GE revisions , Inaccuracies in A , Errors repeated in FE |
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b. 18
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composition: Op. 49, Fantaisie in F minor
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In FE1 the topmost note of the arpeggiated chord on the 3rd beat is preceded by a (c3). The manifest error was corrected – perhaps at Chopin's request – in FE2. The traces of a natural visible in EE prove that in this place it was based on a copy of FE prior to this correction, and the mistake was rectified by the reviser of EE1, Ignaz Moscheles. category imprint: Interpretations within context; Differences between sources; Source & stylistic information issues: EE revisions , Errors in FE , Authentic corrections of FE , FE revisions |