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Op. 49, Fantaisie in F minor

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b. 172

composition: Op. 49, Fantaisie in F minor

in A (→GE)

No marking in FE (→EE)
..

Chopin almost certainly added  to A after [FC] had been finished. This is supported by the absence of four other dynamic indications in this and the previous sections in FE –  in bar 164 and 168 and cresc. - - in bar 174 and 178.

category imprint: Differences between sources

b. 172-177

composition: Op. 49, Fantaisie in F minor

No slurs in A (→GE)

Slurs in FE (→EE)
..

The L.H. slurs in bars 172-173 and 176-177 were added – almost certainly by Chopin – at the stage of proofreading FE1 or earlier to [FC].

category imprint: Differences between sources

issues: Authentic corrections of FE

b. 174-178

composition: Op. 49, Fantaisie in F minor

No signs in A (→GE)

Arpeggio signs in FE (→EE)
..

In bars 174-175 and 178-179 we introduce the arpeggio marks added – certainly by Chopin – to [FC] or at the stage of proofreading FE directly into the main text.

category imprint: Differences between sources

issues: Authentic corrections of FE

b. 174

composition: Op. 49, Fantaisie in F minor

cresc. - - in A

cresc. - - in GE

No indication in FE (→EE)
..

Chopin added the cresc. - - indication to A after the basis for FE had been finished, that is [FC]. In GE it was reproduced inaccurately, omitting the dash at the beginning of bar 175.
Similarly, in bar 178.

category imprint: Differences between sources; Corrections & alterations

issues: Inaccuracies in GE

b. 176-177

composition: Op. 49, Fantaisie in F minor

No signs in sources

Arpeggio signs suggested by the editors
..

As in bars 172-173, in the main text we add arpeggios on the basis of the Chopinesque proofreading of FE1 in analogous bars 85-86 and 89-90. Taking into account the fact that bar 85 is identical to the discussed bars, there are no doubts that arpeggios should be used also in this case.

category imprint: Editorial revisions