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Op. 49, Fantaisie in F minor

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b. 195

composition: Op. 49, Fantaisie in F minor

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In A the R.H. part in this bar was written down using shorthand notation (with the help of •/•) as a repetition of the preceding bar. In GE and FE (→EE) the R.H. part was written out in full.

category imprint: Differences between sources

issues: GE revisions , Abbreviated notation of A , FE revisions

b. 197-198

composition: Op. 49, Fantaisie in F minor

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The deletions visible in A allow us to discover that:

  • Chopin started writing the L.H. part an octave higher, from g1-g2;
  • in the R.H. part in both bars, and in the L.H. in bar 198 (4 octaves in total), there were f notes (and not g), most probably with f in mind. The presence of the notes without sharps suggests that in the draft autograph (lost), on the basis of which Chopin wrote A, the change of key – perhaps unmarked – took place 2 bars earlier than in the final version.

category imprint: Corrections & alterations; Source & stylistic information

issues: Corrections in A , Errors of A , Deletions in A , Enharmonic corrections

b. 197-198

composition: Op. 49, Fantaisie in F minor

No slur in A (→GE) & FE1

Slur in FE2 (→EE)
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The slur added at the stage of proofreading FE2 (→EE) comes most probably from Chopin, hence we give it in the main text.

category imprint: Differences between sources; Corrections & alterations

issues: Authentic corrections of FE

b. 197

composition: Op. 49, Fantaisie in F minor

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The notation of this bar, obvious in terms of sound, is inaccurate in some sources. In A two flats in the 2nd half of the bar are missing, to g1 and g (the latter is necessary, since in the manuscript, as well as in FE and GE, the first L.H. octave is written in the treble clef). GE corrected both inaccuracies, while FE added only the latter accidental. EE added a  to g1 and shifted the return of the bass clef, as in our main text, which eliminated the need to repeat a  to g.

category imprint: Interpretations within context; Differences between sources

issues: EE revisions , Accidentals in different octaves , GE revisions , FE revisions , Inaccuracies in A

b. 197

composition: Op. 49, Fantaisie in F minor

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The deleted  mark at the beginning of this bar in A suggests that Chopin initially wanted to write one pedal for the octave motif in bars 197-198, and only then did he realise that this motif may overlap the fading out of the entire preceding passage.

category imprint: Corrections & alterations; Source & stylistic information

issues: Deletions in A