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b. 188-189
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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: GE revisions , Omission of current key accidentals , FE revisions , Last key signature sign , Inaccuracies in A , Errors repeated in GE |
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b. 190-193
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composition: Op. 49, Fantaisie in F minor
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In A the dashes marking the range of accel. are written inaccurately – in bar 190, which ends a line, there is only one, at the beginning of the bar, yet in a new line, from bar 191, Chopin continues writing dashes to the beginning of bar 193, confirming that the accelerando is still valid. We give this interpretation of A in the main text. In the editions the dashes in bar 190 were supplemented, but in the next bars their versions differ significantly from the A notation, mainly in terms of assigning the dashes to accel. or dim. In A dim. is placed above the dashes, which means that they all concern accelerando. Meanwhile, in GE the range of accel. includes only just the 1st triplet in bar 191 – the following dashes already concern dim. and reach the end of bar 191 in GE1 (a mistake – in the new line the marks were overlooked, from bar 192), while in GE2 the end of bar 192 (inaccuracy). The disparity between both indications is even greater in FE (→EE), in which the dashes following accel. reach only the end of bar 190, while the dim. indication is prolonged with dashes to the very end of bar 193 (in EE the marks in bar 193, on a new page, were overlooked). The GE version must be a distortion of the A notation, while the EE version is an inaccurately reproduced FE notation. On the other hand, it is uncertain whether one can similarly drop the matter of the FE version, which theoretically could have resulted from Chopin's intervention, either to [FC] or while proofreading FE1. Practically speaking, the A and FE versions can be considered two ways of implementing accelerando combined with diminuendo – a longer (gentler?) accelerando, which is joined by diminuendo, or a shorter accelerando, which then flows into diminuendo. category imprint: Graphic ambiguousness; Differences between sources issues: Inaccuracies in GE , Errors in EE , Errors in GE , GE revisions , Inaccuracies in A |
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b. 190-196
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composition: Op. 49, Fantaisie in F minor
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In A a line ends in bar 190. The ending of the slur over the R.H. part clearly suggests that it should be continued; however, there is no ending, neither in the next line, encompassing bars 191-195, nor further, in bar 196. In GE the ending of the slur in bar 190 was considered inaccurate, and the slur was led only to the last quaver, a category imprint: Graphic ambiguousness; Differences between sources issues: Inaccurate slurs in A , Authentic corrections of FE , Uncertain slur continuation |
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b. 192-196
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composition: Op. 49, Fantaisie in F minor
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The missing arpeggio markings in A (→GE) before the chords in bar 192 and 196 must be considered Chopin's inadvertence in this context. Therefore, in the main text we give the markings added probably by Chopin to [FC] or while proofreading FE. category imprint: Differences between sources issues: Authentic corrections of FE |
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b. 195
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composition: Op. 49, Fantaisie in F minor
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Leaving the chord unchanged, as it is in FE, seems to work better with calando in these bars. Most probably we are dealing here with a Chopinesque correction to [FC] or while proofreading FE1. The latter is supported by small printing errors visible in FE, which may indicate that changes were made here. Due to the above, in the main text we give the FE version. The A version may be considered an equal variant. category imprint: Differences between sources; Corrections & alterations |
to the 2nd quaver in bar 188 (g
) and to the 3rd quaver in bar 189, at the same pitch. The patent inaccuracies were corrected in 
