Verbal indications
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b. 223
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composition: Op. 49, Fantaisie in F minor
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When interpreted literally, the Tempo primo indication directs us to the beginning of the piece, which, of course, could not have been intended by Chopin. Therefore, formally speaking, come prima would be more appropriate, which means, among others, 'as before'. We keep the source indication, as the texture clearly indicates that it should be the tempo of the main section of the Fantasy that should be continued. category imprint: Source & stylistic information issues: Errors of A , Errors repeated in GE , Errors repeated in FE , Errors repeated in EE |
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b. 234
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composition: Op. 49, Fantaisie in F minor
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The ten. indication was almost certainly added to A after [FC] had been finished (along with category imprint: Differences between sources; Corrections & alterations issues: Errors in GE , GE revisions |
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b. 236-237
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composition: Op. 49, Fantaisie in F minor
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Both versions of the dynamic markings are almost certainly authentic and were most probably added by Chopin independently to A and to [FC] or while proofreading FE. In EE2 the markings were changed after GE1. category imprint: Differences between sources; Corrections & alterations issues: EE revisions |
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b. 252
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composition: Op. 49, Fantaisie in F minor
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The missing category imprint: Differences between sources issues: EE revisions |
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b. 254-255
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composition: Op. 49, Fantaisie in F minor
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The cresc. - - indication was most probably added to A after [FC] had been finished. GE reproduced it inaccurately, suggesting that its range should be longer. EE repeated the indication – in a reduced form – after GE1. Similarly, in bars 258-259. category imprint: Differences between sources issues: EE revisions , Inaccuracies in GE |
and the accents), which explains its absence in 
& cresc. in b. 237 in 
in 
