



Articulation, Accents, Hairpins
b. 116
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composition: Op. 49, Fantaisie in F minor
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As in bars 110-114, the longer category imprint: Differences between sources issues: Long accents |
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b. 117-118
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composition: Op. 49, Fantaisie in F minor
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The second accent in each of these bars visible in A (→GE) was probably added by Chopin to A after [FC] had been finished. The shorter accents in EE are an inaccuracy resulting from the fact that the EE editors were unaware of the existence of long accents as a separate category of accents. category imprint: Differences between sources issues: Long accents , EE inaccuracies |
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b. 120-123
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composition: Op. 49, Fantaisie in F minor
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As in bar 109 and analog., the category imprint: Graphic ambiguousness; Differences between sources; Corrections & alterations issues: EE revisions , Scope of dynamic hairpins , Corrections in A |
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b. 123-126
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composition: Op. 49, Fantaisie in F minor
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The short accents of FE most probably resulted from A having been inaccurately reproduced, which could have been attributed to both Fontana in [FC] and the engraver of FE – cf., e.g. the versions of the autograph and Fontana's copy and the end result in FE in the Prelude in G category imprint: Differences between sources issues: Long accents , Inaccuracies in FE |
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b. 126
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composition: Op. 49, Fantaisie in F minor
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The easiest explanation for the absence of the last accent in the sequence of chords in FE (→EE1) would be an oversight. In EE2 the mark was most probably added after comparing it with GE1; however, the shape of the mark was adjusted to the preceding short accents. category imprint: Differences between sources issues: Long accents , EE revisions , Errors in FE |