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Op. 49, Fantaisie in F minor

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b. 109-110

composition: Op. 49, Fantaisie in F minor

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The range of the slur is unclear in A – at the end of bar 109, which ends a line, the slur fades due to lack of ink, while bar 110 does not contain a continuation thereof. Therefore, when interpreted literally, it reaches the last quaver in bar 109. Nevertheless, there is no doubt that Chopin meant a longer slur, as in the next three analogous figures. This is how it was reproduced in all editions.

category imprint: Differences between sources

issues: Inaccurate slurs in A , GE revisions , FE revisions , Uncertain slur continuation

b. 109-116

composition: Op. 49, Fantaisie in F minor

No L.H. markings in A & FE (→EE1)

Slurs & staccato dots after GE

Slurs & staccato dots after EE2
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In GE in these bars separate articulation markings were added for the L.H., modelled on the respective marks – slurs and staccato dots – for the R.H. part (only the slur and the dot in bars 112-113 were overlooked). This addition cannot be authentic, despite being justified in terms of content, since there are no doubts that the phrasing and articulation of both hands must be compliant. The additions were repeated in EE2, in which a number of inaccuracies occurred – the slur in bars 110-111 and the staccato dots in bar 114 and 116 were overlooked, and the slurs in bar 111 and 115 were shortened, reaching only the last quaver in the bar.

category imprint: Differences between sources

issues: EE revisions , GE revisions

b. 109-115

composition: Op. 49, Fantaisie in F minor

Half-bar-long  in A

Longer  in GE & EE2

No signs in FE (→EE1)
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The  hairpins in bar 109, 111, 113 and 115 must have been added by Chopin to A after [FC] (→FE→EE1) had been finished. It is difficult to imagine a situation in which the copyist or the engraver could overlook so many marks, particularly since there is an identical situation in analogous bar 276, 278, 280 and 282. In GE the marks were extended by placing their beginnings under the first quaver in the bar. It is in this form that they were added to EE2.

category imprint: Differences between sources; Corrections & alterations

issues: EE revisions , Inaccuracies in GE , Corrections in A

b. 109

composition: Op. 49, Fantaisie in F minor

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In FE1 the  to the top note of the octave at the beginning of the 2nd half of the bar (d) was overlooked. The mistake was rectified in FE2.

category imprint: Interpretations within context; Differences between sources

issues: Errors in FE , FE revisions

b. 110-114

composition: Op. 49, Fantaisie in F minor

3  in A, literal reading

2  in GE1

3  in GE2

3  in FE (→EE)

3 long accents suggested by the editors
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We consider the  marks visible in A in bar 110, 112 and 114 to be long accents, in spite of them being longer than typical accents. The GE marks are inaccurate, which clearly changes their meaning in this case (this inaccuracy was not repeated by GE2 while correcting the GE1 oversight in bar 112 – the  added by GE2 are compliant with the A notation). In FE (→EE) the marks are also longer than the ones in A, yet their meaning is similar, which suggests that they could be authentic, if, e.g. Chopin were adding them to [FC] or while proofreading FE1 independently from the marks added to A.

category imprint: Differences between sources

issues: Long accents , Inaccuracies in GE , Inaccuracies in FE , Errors in GE , GE revisions