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

b. 198

composition: Op. 49, Fantaisie in F minor

..

In FE there is no fermata under the L.H. octave. The mark was added by EE; it is also in the remaining sources.

category imprint: Differences between sources

issues: Inaccuracies in FE

b. 198

composition: Op. 49, Fantaisie in F minor

in A

No sign in GE & FE (→EE)
..

The missing  mark in GE must be an oversight by the engraver; on the other hand, it is uncertain who is responsible for the absence thereof in FE (→EE) – it is likely that it was Chopin himself who omitted this mark, like the next ones in bars 199-200.

category imprint: Differences between sources

issues: Errors in GE , No pedal release mark

b. 199-200

composition: Op. 49, Fantaisie in F minor

  in A & GE2

No markings in GE1 & FE (→EE)
..

The pedal markings were probably added to A after the basis for FE had been finished, that is [FC]. Similarly, in bars 215-216. The absence of the marks in GE1 is most probably an oversight, corrected in GE2.

category imprint: Differences between sources; Corrections & alterations

issues: Errors in GE , GE revisions

b. 199-203

composition: Op. 49, Fantaisie in F minor

3 slurs in A, literal reading

3 slurs in A (contextual interpretation→GE)

Continuous slur in FE (→EE)
..

Generally, the A slurs do not raise any concerns; however, they should be carefully evaluated for possible inaccuracies. It is already the first slur in bar 199 that attracts our attention in this respect – in a different context, such a beginning of the slur, reaching so far out, could be misleading. The beginning of the third slur is also questionable – when interpreted literally, it starts from the crotchet in bar 201, yet a comparison with an analogous situation in bars 216-217 reveals that Chopin most probably meant a slur starting from the preceding semiquaver. This is the interpretation of the A slurs (contextual, compliant with the natural division into motifs and adopted by GE) that we give in the main text.
On the other hand, the authenticity of the FE continuous slur is questionable if we take into account that similar long slurs are to be seen in FE in a few other places, in which their musical accuracy is highly problematic – cf. bars 240-241. On the other hand, the situation in bars 77-84 makes us include a possibility in which the FE slurring, in spite of likely inaccuracies further on (see below and bars 204-205), could be an alternative, authentic version of phrasing. One of such patent inaccuracies is the situation between bars 201 and 202 – the slur in bar 201, at the end of a page, suggests that it should be continued, which is not confirmed by the beginning of the slur in bar 202. In our transcription we interpret this situation as a continuous slur, as it was already done in EE. 

category imprint: Graphic ambiguousness; Differences between sources

issues: Inaccuracies in FE , Inaccurate slurs in A , Uncertain slur continuation

b. 199-200

composition: Op. 49, Fantaisie in F minor

d1 minim tied over in A & FE (→EE)

d1 tied over barline in GE1

No tying in GE2
..

Tying the d1 quaver to the next bar is a typical mistake of the engraver of GE1, who, instead of a tie running to the right of the minim, inserted its mirror reflection – a tie to the left. The attempt to correct this mistake in GE2 did not result in the right version – the wrong tie was removed, yet the right one was not added.

category imprint: Differences between sources

issues: Sign reversal