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Op. 49, Fantaisie in F minor

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Verbal indications

b. 69-71

composition: Op. 49, Fantaisie in F minor

cresc. from b. 71 in A (→GE)

cresc. from b. 69 in FE (→EE)

cresc. from b. 69 or 71 suggested by the editors
..

The crescendo starting earlier in FE (→EE) could be explained by, e.g. Chopin's correction in [FC] or by both variants having been added independently to A and to the copy (or at the stage of proofreading FE1). In later appearances of this phrase (bars 156-158 and 236-238) in all sources crescendo begins earlier than here (as marked by Chopin in A). Due to this fact, in the main text we suggest a variant solution, including the FE version, with a possibility of crescendo beginning later (as in A).

category imprint: Differences between sources; Editorial revisions

issues: Authentic corrections of FE

b. 101

composition: Op. 49, Fantaisie in F minor

cresc. at beginning of bar in A (→GE)

cresc. mid-bar in FE (→EE)
..

The fact that in FE (→EE) the crescendo begins slightly later could be of an accidental nature or could mean that Chopin added the indication twice – once in A and once in [FC] or while proofreading FE1.

category imprint: Differences between sources

b. 109

composition: Op. 49, Fantaisie in F minor

at beginning of bar in A (→GE)

after 1st crotchet in FE (→EE)
..

According to us, the fact that the  mark in FE is more to the right, which may be suggesting that this type of dynamics is in force only just starting from the quaver octave sequence, resulted from an inaccuracy that occurred somewhere between A – [FC] – FE. At the same time, it cannot be ruled out that it was Chopin himself that wrote  in [FC] or while proofreading FE1 in this way, since in his pieces we often encounter the manner of writing dynamic markings inside, and not at the beginning of their range – cf., e.g. the autographs of the Etude in G, Op. 10 No. 5, bar 83, Concerto in E minor, Op. 11, I mov., bar 16 or Prelude in B minor, Op. 28 No. 16, bars 45-46.

category imprint: Differences between sources

issues: Inaccuracies in FE , Centrally placed marks

b. 153

composition: Op. 49, Fantaisie in F minor

in A (→GE)

No marking in FE (→EE)
..

 was added to A after the basis for FE had been finished, that is [FC]. The same applies to the analogous situation in bar 233. See also the next note.

category imprint: Differences between sources; Corrections & alterations

b. 156-157

composition: Op. 49, Fantaisie in F minor

 & cresc. - - in A, likely interpretation

 & cresc. - - in GE

cresc. - - in FE (→EE)
..

In A the  hairpin's arms are of different length, hence their intended range remains unclear. To the A text we adopt the range marked by the top arm, which was written first. This is the version we give in the main text. However, the version adopted by GE, based on the range of the bottom arm, can be considered an equal variant. In these sources cresc. begins only just in bar 157. The FE (→EE) version is probably also authentic, in which there is only one crescendo indication instead of two, that is cresc. from bar 156.

category imprint: Graphic ambiguousness; Differences between sources

issues: Scope of dynamic hairpins , Inaccuracies in A