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Op. 49, Fantaisie in F minor

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b. 170-171

composition: Op. 49, Fantaisie in F minor

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As in the 3 preceding bars, in A Chopin overlooked a number of necessary flats to g and c notes – in bar 170 to g1 and both to c1 (L.H. and R.H.), in bar 171 to g and c2. Only 3 of them were added by FE – both in the R.H. in bar 170 and one in the L.H. in bar 171. GE and EE show the correct text.

category imprint: Interpretations within context; Differences between sources

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

b. 170

composition: Op. 49, Fantaisie in F minor

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In FE1 the bottom note of the 5th R.H. quaver is an f1. The mistake was rectified in FE2 (→EE).

category imprint: Differences between sources

issues: Errors in FE , FE revisions

b. 172-173

composition: Op. 49, Fantaisie in F minor

No signs in sources

Arpeggio signs suggested by the editors
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In the main text we suggest arpeggiating the tenths in these bars, since Chopin probably considered such performance of these figures to be self-explanatory while writing A – he did not write any arpeggio in bars 85-92 and in bars 172-179. However, he added respective marks to [FC] or while proofreading FE1 in bars 85-86 and 89-90, undoubtedly also after the analogous bars. In the discussed bars one can ponder whether Chopin considered tenths to be fully analogous to chords spanning a tenth, in other words whether the aforementioned arpeggios added before the chords may be considered to be applicable also here. According to us, they may, which seems to be indicated by the initial version of the discussed bars visible in A, including the then deleted B notes. This suggests that Chopin considered tenths a variant of chords of a harmonic nature, and not of a performing nature.

category imprint: Editorial revisions

b. 172

composition: Op. 49, Fantaisie in F minor

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We add cautionary naturals before C and c1 in the main text.

category imprint: Editorial revisions

b. 172-173

composition: Op. 49, Fantaisie in F minor

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In A (→GE) and FE there are no flats to the 2nd quaver in each of these bars. Chopin's patent oversight – flats are written next to the g grace notes – went unnoticed by the revisers of GE and FE and by Chopin himself while he was proofreading FE1 and FE2.

category imprint: Interpretations within context; Differences between sources

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