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Op. 49, Fantaisie in F minor

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b. 106

composition: Op. 49, Fantaisie in F minor

B-minor chord in A & FE (→EE1)

B-major chord in GE & EE2
..

The fact that the missing naturals in A (→[FC]→FE→EE1) resulted from Chopin's mistake is proven by the harmonic sequence in analogous bar 273, featuring an E chord, and not an E minor chord, as well as by the regularity of the R.H. major third chromatic sequences in bars 101-109.

category imprint: Differences between sources

issues: EE revisions , GE revisions , Omission of current key accidentals , Errors of A , Last key signature sign

b. 106

composition: Op. 49, Fantaisie in F minor

..

In A one can see that Chopin initially wrote the 3rd L.H. crotchet an octave higher, as B-b.

category imprint: Corrections & alterations; Source & stylistic information

issues: Corrections in A , Deletions in A , Bass register changes

b. 108-109

composition: Op. 49, Fantaisie in F minor

Tied b2 crotchet in A (→GE)

b2 crotchet in FE

b2 quaver in EE1

Tied (?) b2 quaver in EE2
..

The absence of the tie to b2 in FE (→EE1) is probably an oversight by the copyist or by the engraver of FE1, as is the absence of the additional crotchet stem extending this note in EE (this change could also be a revision). In EE2 only a tie was added (the stem is still missing), hence the result of this correction is unclear. 

category imprint: Differences between sources

issues: EE revisions , Errors in FE , Errors in EE

b. 108

composition: Op. 49, Fantaisie in F minor

..

In the main text we omit the poorly justified cautionary  to d1 in the chord on the 2nd crotchet in the bar. A respective accidental was already put to d3 in the R.H.

category imprint: Editorial revisions

issues: Cautionary accidentals

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