mUltimate Chopin

Op. 49, Fantaisie in F minor

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b. 110

composition: Op. 49, Fantaisie in F minor

Pedalling in A (→GE)

No markings in FE (→EE)
..

The missing pedal markings in this bar probably resulted from an oversight by the copyist in [FC] or by the engraver in FE1.

category imprint: Differences between sources

issues: Errors in FE

b. 110-114

composition: Op. 49, Fantaisie in F minor

..

In the main text we add cautionary flats to d1-d2 in bar 110 and 114.

category imprint: Editorial revisions

b. 112-116

composition: Op. 49, Fantaisie in F minor

E1-E in sources

B2-B1 suggested by the editors
..

When compared with analogous bar 279 and 283, the source version of the 1st L.H. octave in bar 112 and 116 is more static, harmonically speaking, which results from the tonic E chord being repeated four times in root position – in bar 110, 112, 114 and 116. According to us, it is highly likely that Chopin reduced here the intended, more harmonically distinct version due to the limited range of his piano, which reached only C1. Due to the above, in the main text we suggest a version modelled on bar 279 and 283. Cf. the Scherzo in C minor, Op. 39, bar 241.

category imprint: Editorial revisions

issues: Constraint from piano range

b. 112

composition: Op. 49, Fantaisie in F minor

a in A (→GE) & EE2

b in FE (→EE1)
..

b in the last R.H. chord is almost certainly a mistake by the engraver of FE or by the copyist in [FC]. This is proven by the repetitions of this motif in bars 116-118.

category imprint: Differences between sources

issues: EE revisions , Errors in FE

b. 112

composition: Op. 49, Fantaisie in F minor

Pedal from 1st octave after A (→GE)

Pedal from 2nd octave in FE (→EE)
..

In FE (→EE) the pedal markings are shifted to the right with respect to A, which, taking into account the likely oversights in bar 110 and 116, could be considered an inaccuracy. On the other hand, considering the authentic sound of the 1st L.H. octave, this version of pedalling results in a more transparent overview of the harmonic structure, with a distinct chord in second inversion. The A pedalling, in which this chord overlaps with the bass E1, obliterates its function of a delayed dominant. This makes us regard the FE version as potentially authentic. In our version of the 1st octave it is the A pedalling that is more natural, hence we provide it in the main text.

category imprint: Differences between sources

issues: Inaccuracies in FE , Authentic corrections of FE