mUltimate Chopin

Op. 49, Fantaisie in F minor

Text Compare Notes Sources Description
Select: 
Category
All
Graphic ambiguousness
Interpretations within context
Differences between sources
Editorial revisions
Corrections & alterations
Source & stylistic information
Notation
All
Pitch
Rhythm
Slurs
Articulation, Accents, Hairpins
Verbal indications
Pedalling
Fingering
Ornaments
Shorthand & other
Importance
All
Important
Main
Undo Clear

b. 146

composition: Op. 49, Fantaisie in F minor

..

In A and FE there is no accidental to the 5th R.H. quaver (b2). Chopin's patent oversight was corrected in GE and EE.

category imprint: Interpretations within context; Differences between sources

issues: EE revisions , GE revisions , Omission of current key accidentals , Inaccuracies in A , Errors repeated in FE

b. 146-147

composition: Op. 49, Fantaisie in F minor

  in b. 147 in A (→GE)

 in b. 146-147 in FE (→EE)
..

In the main text we give the FE (→EE) pedal markings, compliant with the rhythm of harmonic changes and almost certainly resulting from Chopin's addition or correction to [FC] or while proofreading FE. The A pedal markings, although corrected by Chopin, probably resulted from the composer's mistake, misled by the enharmonic change of notation in bar 147, suggesting a harmonic change, which, actually, occurs earlier, between the bars.

category imprint: Differences between sources

issues: Corrections in A , Errors resulting from corrections , Errors of A , Deletions in A

b. 147

composition: Op. 49, Fantaisie in F minor

..

In the main text we put cautionary accidentals to c1, f1 and e1. Chopin wrote only the middle one, a  to f1, and this is how it was reproduced by the editions. See the next note.

category imprint: Editorial revisions

issues: Cautionary accidentals

b. 147

composition: Op. 49, Fantaisie in F minor

No sign (d1) in A

Flat (d1) in GE

Natural (d1) in FE (→EE)
..

In the main text we give the A version with d1 as the 2nd quaver of the 2nd triplet, along with the cautionary  added by GE. The natural added by FE (→EE) is almost certainly an erroneous revision, probably introduced in the belief that it is a cautionary accidental after d2(4) at the beginning of the bar, on a similar basis as the Chopinesque  to f1, which seems to be reminding that the  to f2 is no longer valid (actually, Chopin certainly did not warn us of f, which does not fit here at all, but of f, which is likely here – cf. d in bars 224-226 and a in bars 314-315).

See also the next bar.

category imprint: Differences between sources; Corrections & alterations

issues: Authentic corrections of FE , FE revisions

b. 148-150

composition: Op. 49, Fantaisie in F minor

3 short accents in A

Long accent in GE

Long accent in FE

No marks in EE1

Short & long accents in EE2
..

The notation of accents in bar 148 and 150 is inaccurate in all sources, hence in the main text we suggest 4 accents (short alternating with long) after bars 224-230 and 311-315, more carefully developed in A. In A we can see here 3 more or less identical marks, which we interpret as short. The only accent in FE, in the middle of bar 148, is, however, long, which suggests that this is how it was reproduced – on the basis of A – by Fontana in the copy that served as the basis for FE. The absence of marks at the beginning of these bars in FE (→EE) indicates that they were added to A later, after [FC] had been finished.
In GE the missing 2nd accent in bar 148 can be explained by corrections in A – Chopin left the accent over the deleted version but did not repeat it in the final version, written on the stave below. The absence of the mark in bar 150 is just an oversight.
In EE1 the only accent present in FE was overlooked, which was corrected in EE2, in which an accent at the beginning of this bar was also added (after GE1).

category imprint: Differences between sources; Editorial revisions

issues: Long accents , EE revisions , Errors in EE , Errors in GE