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Op. 49, Fantaisie in F minor

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b. 9

composition: Op. 49, Fantaisie in F minor

in A

in GE & EE2

No sign in FE (→EE1)
..

The  hairpin under the L.H. motif was most probably added by Chopin to A after [FC] had already been finished. In GE the mark was moved to between the staves, which was repeated in this form in EE2.

category imprint: Differences between sources; Corrections & alterations

issues: EE revisions , Inaccuracies in GE

b. 9

composition: Op. 49, Fantaisie in F minor

c1 repeated in A (→GE) & FE1 (→EE)

c1 tied in FE2
..

An arpeggio preceded by a grace note, resulting in a repetition of the bottom chord note, belongs to Chopin's favourite ornaments – cf. e.g. bars 18 and 320 or the Polonaise in F minor, Op. 44, bar 27 and analog. Therefore, it seems unlikely that the small slur added in FE2, reducing the ornament to a common arpeggio, could have been coming from Chopin. The absence of the small slur in EE suggests that the mark was added in the last stage of proofreading FE2.

category imprint: Differences between sources

issues: EE revisions

b. 10

composition: Op. 49, Fantaisie in F minor

c1-a1 in A (→GE), as well as FE1 (contextual interpretation) & FEJ (1st stage of corrections)

c1-c2 in FE2 (→EE1)

c1-a1, c2 tied in FEJ (2nd stage of corrections)

c1-e1-a1, c2 tied in FES & EE2

Possible interpretation of notation of FES
..

For the 3rd crotchet in the bar we choose the unquestionable A version (→GE). The same version, although written down with errors, is to be seen in FE1. The mistakes were corrected in FE2, yet, according to us, another mistake was committed in the act – the topmost note was changed from a1 to c2. The erroneous FE2 version was subject to further corrections and changes in the preserved teaching copies. In some respects, interpretation of these additions is problematic, particularly in the case of the FES entries, where we suggest two possible interpretations.
According to us, the tie to c2 present in both copies is of technical and pedagogical nature, as it facilitates the performance of the broad chord on the 4th beat of the bar.
The presence of the FES version in EE2 suggests that the edition was co-revised by a person who had access to FES.

category imprint: Interpretations within context; Differences between sources; Corrections & alterations

issues: EE revisions , Errors in FE , Errors resulting from corrections , Terzverschreibung error , Annotations in FES , Authentic corrections of FE , Authentic post-publication changes and variants , Annotations in FEJ , FE revisions

b. 10

composition: Op. 49, Fantaisie in F minor

No slurs in A (→GE)

Slur in FE

2 slurs in EE
..

In the main text we do not include the triplet slurs present in some sources (cf. General Editorial Principles, p. 16), especially since Chopin did not write them in A.

category imprint: Differences between sources

issues: EE revisions

b. 14-15

composition: Op. 49, Fantaisie in F minor

a1 tied in A & FE (→EE)

a1 repeated in GE
..

The missing tie to a1 in GE must be an oversight by the engraver.

category imprint: Differences between sources

issues: Errors in GE