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
Pitch
All
Pitch
Rhythm
Slurs
Articulation, Accents, Hairpins
Verbal indications
Pedalling
Fingering
Ornaments
Shorthand & other
Importance
All
Important
Main
Undo Clear

Pitch

b. 26-27

composition: Op. 49, Fantaisie in F minor

Continuous slur in A (contextual interpretation→GE)

Separate slurs in A (literal reading) & FE (→EE)
..

In A bar 27 opens a new line, which resulted in vague slurs – the slur at the end of bar 26 is ambiguous (it may suggest continuation), while the slur at the beginning of bar 27 starts from the 1st note. However, in an analogous situation in bars 34-35 the slur at the end of line (in bar 34) clearly indicates that it should be continued. Due to the above, in the main text we accept the interpretation of the discussed place adopted by GE (continuous slur). Taking into account the earlier division of the slur at the beginning of bar 26, we consider the FE (→EE) version with divided slurs to be less convincing, musically speaking.

category imprint: Graphic ambiguousness; Differences between sources

issues: Inaccurate slurs in A , Uncertain slur continuation

b. 27-35

composition: Op. 49, Fantaisie in F minor

..

We add cautionary flats before b1 in bars 27 and 35 in the main text.

category imprint: Editorial revisions

b. 27

composition: Op. 49, Fantaisie in F minor

..

GE added an unjustified  (reminder accidental?) to g1.

category imprint: Differences between sources

issues: GE revisions

b. 28

composition: Op. 49, Fantaisie in F minor

..

In FE (→EE1) there is no  to the top note of the first crotchet (a2). The patent mistake – cf. bar 36 – was rectified only just in EE2.

category imprint: Interpretations within context; Differences between sources

issues: EE revisions , Errors in FE , Errors repeated in EE

b. 28-36

composition: Op. 49, Fantaisie in F minor

g-c1-e1 in A (→GE)

c1-e1 & g-c1-e1 in FE1

c1-e1 in FE2 (→EE1)

g-c1-e1 & c1-e1 in EE2
..

The g-c1-e1 chord on the 2nd beat of bars 28 and 36 is the initial version – it is already present in FCs. Chopin removed g in bar 28 while proofreading FE1 or earlier, while revising [FC], while in bar 36 – while proofreading FE2. The reason could have been to avoid parallel octaves with the melodic voice (in bar 28 latent, while in bar 36 real). We are dealing with a somewhat similar situation in the autograph of the Ballade in A, Op. 47 – in three analogous places we can probably see three stages of introducing a change consisting of the removal of the fifth of the dominant seventh chord (d) in one of the accompanying voices, in bar 56 the note is already absent, in bar 60 it is deleted, in bar 107 it remained undeleted. EE1 repeated the fully corrected FE2 version, while EE2 returned to the initial three-note chord in bar 28, probably under the influence of GE1.

category imprint: Differences between sources; Corrections & alterations

issues: EE revisions , Accompaniment changes , Authentic corrections of FE