|
b. 77-82
|
composition: Op. 49, Fantaisie in F minor
..
Moving the semiquavers in bars 77-78 and 81-82 beyond the 3rd quaver of the respective L.H. triplet is an arbitrary change by the revisers of GE and EE (in bar 77 GE mistakenly placed the semiquaver before the 3rd L.H. quaver). It suggests that the semiquavers should be performed after the respective accompaniment note, which is certainly contrary to Chopin's intention, clearly stated in the A notation. Cf. bars 245-249, see also the Nocturne in C category imprint: Differences between sources issues: EE revisions , GE revisions , Dotted rhythms and triplets |
|||||||||
|
b. 77-78
|
composition: Op. 49, Fantaisie in F minor
..
In the main text we provide the slurs of A, where the slur is divided in a pianistically natural place, that is over a rest. We consider the division of the slur between bars 77 and 78 in FE (→EE) to be an inaccuracy related to the transition to a new line; therefore, we suggest a continuous slur in this place as an alternative solution. category imprint: Differences between sources; Editorial revisions issues: Inaccuracies in GE , GE revisions |
|||||||||
|
b. 77-81
|
composition: Op. 49, Fantaisie in F minor
..
The slashed grace notes in bar 77 and 81, which is inaccurate, were almost certainly written by Fontana in [FC] – slashed grace notes were part of Fontana's style as a copyist, which can be observed in the pieces in the case of which both the autograph and its copy are preserved, e.g. in the Preludes, Op. 28. Nevertheless, in the main text we give slashed grace notes, since it was in this form that Chopin wrote them in 4 remaining analogous places – bar 164, 168, 234 and 238. Generally, in obvious situations Chopin would often ignore whether grace notes were written precisely, allegedly writing long grace notes in places in which the context, like this one, determines the use of short grace notes. category imprint: Differences between sources issues: GE revisions , Notation of grace notes , Non-slashed grace notes |
|||||||||
|
b. 77
|
composition: Op. 49, Fantaisie in F minor
..
At the end of the bar the semiquaver beam was overlooked in GE1. The mistake was corrected in FE2 (→EE). category imprint: Interpretations within context; Differences between sources issues: Errors in FE , FE revisions |
|||||||||
|
b. 78-82
|
composition: Op. 49, Fantaisie in F minor
..
Moving the last quaver in the bottom voice in bar 78 and 82 so that it is between the 2nd and 3rd notes of the triplet was an arbitrary decision by the reviser of GE. The A notation, both in these bars and in two repetitions of this phrase in different keys (bars 165-169 and 245-249) leaves no doubts about the synchronisation of both R.H. voices – their last notes are to be performed together regardless of the rhythmic value in a given voice. We can observe this kind of notation numerous times in other pieces by Chopin, cf., e.g. the Nocturne in C minor, Op. 48 No. 1, bars 61-63, the Ballade in F minor, Op. 52, bars 217-219 or the Prelude in E, Op. 28 No. 9, bar 8. category imprint: Differences between sources issues: GE revisions |
minor, Op. 27 
2(1) together with d3(2) in 