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Op. 49, Fantaisie in F minor

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b. 4-14

composition: Op. 49, Fantaisie in F minor

in A (→GE) & EE2

No signs in FE (→EE1)
..

The  hairpins in bars 4 and 14, acting as long accents, were most probably added to A after [FC] had already been finished. It seems highly unlikely that Fontana could have overlooked both marks or that Chopin could have crossed them out in [FC] or removed while proofreading FE. The marks being present in EE2 probably resulted from a revision including the GE1 text.

category imprint: Differences between sources; Corrections & alterations

issues: EE revisions

b. 4-15

composition: Op. 49, Fantaisie in F minor

f tied in A (→GE), FE & EE2

f repeated in EE1
..

The missing ties to f in EE1 in bars 4-5 and 14-15 are probably the engraver's mistakes, corrected in EE2. However, it should be mentioned that the FE notation in bars 4-5 is inaccurate, which could have misled the engraver of EE1 – in bar 4 the tie is placed too low, next to the stem, and not the notehead, while in bar 5 the ending of the tie is missing.

category imprint: Differences between sources

issues: EE revisions , Errors in EE

b. 5-15

composition: Op. 49, Fantaisie in F minor

..

In bars 5 and 15, opening new lines, the endings of some slurs/ties from the previous bars were omitted in FE – of the slur in bar 5 and of the slur and of the tie to a1 in bar 15. The inaccuracies did not mislead the engraver/reviser of EE, which includes the correct notation.

category imprint: Graphic ambiguousness; Source & stylistic information

issues: EE revisions , Inaccuracies in FE , Uncertain slur continuation

b. 6-7

composition: Op. 49, Fantaisie in F minor

Slur & dot in A (→GE) & EE2

No markings in FE (→EE1)
..

The missing articulation markings between the bars may be explained by an oversight by the copyist or by the engraver of FE or – which seems less likely in this case – by the markings having been added to A later. The fact that the marks were added by EE2 most probably resulted from using GE1 while revising.

category imprint: Differences between sources

issues: EE revisions

b. 7

composition: Op. 49, Fantaisie in F minor

..

In FCs the 1st crotchet in the bar is written as an E with an 8 marking the bottom octave (E1). Taking into account the fact that octave doublings are marked neither in bars 5-6 nor 1-2, one could assume the 8 marking in this place to be a cue that an octave is supposed to appear only just here, which, according to us, is highly unlikely – see the note on bars 1-7. Perhaps this 8 means that the octave is to be played by left hand only, which would explain the different notation compared with the previous bars, in which the octaves were supposed to be played by both hands. However, it is most likely an irrelevant inconsistency resulting from poorly thought-out and sketchy notation.

category imprint: Source & stylistic information