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b. 164
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composition: Op. 49, Fantaisie in F minor
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In A there is no category imprint: Interpretations within context; Differences between sources issues: Accidentals in different octaves , Omission of current key accidentals , Inaccuracies in A |
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b. 165
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composition: Op. 49, Fantaisie in F minor
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As in bars 78-82, the notation of the R.H. bottom voice quavers at the end of the bar (also in bar 167 and 169) is an arbitrary revision by GE, contrary to the A notation and the resulting performance. category imprint: Differences between sources issues: GE revisions |
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b. 167-169
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composition: Op. 49, Fantaisie in F minor
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In bar 167 and 169, moving the last bottom voice quaver between the 2nd and 3rd notes of the top voice triplet was an arbitrary decision by the engravers of GE and FE. In EE the Chopinesque notation was probably introduced on the basis of the majority of the previous similar situations (bar 78 and 82 and 165). category imprint: Differences between sources issues: EE revisions , GE revisions , FE revisions |
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b. 169
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composition: Op. 49, Fantaisie in F minor
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In the main text we add a cautionary category imprint: Differences between sources; Editorial revisions issues: EE revisions |
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b. 170
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composition: Op. 49, Fantaisie in F minor
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In A Chopin deleted the pedal change on the 4th crotchet in the bar, yet in analogous bar 83 it was the other way around – there are two pedal changes in A (→GE) and one in FE (→EE). The fact that Chopin left various versions in these sources (which he proofread) proves that he hesitated, hence in the main text we suggest a variant solution. category imprint: Differences between sources; Corrections & alterations issues: Corrections in A , Deletions in A |
to the bottom note of the 1st third (g
2). Chopin's patent inaccuracy – G
to c2 (Chopin wrote a respective accidental only to c3 four bars earlier). A natural in the discussed place was also added by 
