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Op. 49, Fantaisie in F minor

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b. 18

composition: Op. 49, Fantaisie in F minor

Pedalling in A (→GE) & FE2 (→EE)

No markings in FE1
..

As in bars 2-17, the missing pedalling in FE1 indicates that it was added to A after [FC] had been finished. Chopin also added pedalling while proofreading FE2 (→EE).

category imprint: Differences between sources

issues: Authentic corrections of FE

b. 18

composition: Op. 49, Fantaisie in F minor

..

In FE1 the topmost note of the arpeggiated chord on the 3rd beat is preceded by a  (c3). The manifest error was corrected – perhaps at Chopin's request – in FE2. The traces of a natural visible in EE prove that in this place it was based on a copy of FE prior to this correction, and the mistake was rectified by the reviser of EE1, Ignaz Moscheles.

category imprint: Interpretations within context; Differences between sources; Source & stylistic information

issues: EE revisions , Errors in FE , Authentic corrections of FE , FE revisions

b. 18

composition: Op. 49, Fantaisie in F minor

..

The notation of accidentals is incomplete in the majority of the sources. However, these are patent inaccuracies, typical of Chopin, and FE1 oversights, equally unambiguous:

  • in A there is no  before the bottom note of the L.H. chord on the 2nd beat of the bar (B) and no  restoring b on the 4th beat;
  • in GE1 only the former was added, while in GE2 – both;
  • FE1 is missing both accidentals overlooked in A; in addition, there is no  before the final L.H. semiquaver (c1); FE2 added only a  to b;
  • EE has the correct notation.

category imprint: Interpretations within context; Differences between sources

issues: Errors in FE , Accidentals in different octaves , Omissions to cancel alteration , GE revisions , Errors repeated in GE

b. 18

composition: Op. 49, Fantaisie in F minor

..

In the main text we omit the cautionary  to b2, present in all sources.

category imprint: Editorial revisions

issues: Cautionary accidentals

b. 18

composition: Op. 49, Fantaisie in F minor

 & arpeggio signs in A

, L.H. arpeggio sign & R.H. slur in GE & EE2

in FE (→EE1)
..

In the main text we keep the authentic notation of the grace note as a small crotchet, although in this context it is clear that we are dealing with an ordinary short grace note. Such inaccuracies in the notation of grace notes are quite frequent in Chopin's works. This kind of notation was not repeated by any other source, which, however, does not allow us to consider Chopin's possible revisions in [FC] or FE, since Fontana would routinely change non-slashed grace notes to slashed ones. The absence of arpeggios in FE could be explained by an oversight (by Fontana in [FC] or by the engraver) or by the arpeggios having been added to A after [FC] had already been finished. The latter is indicated by the fact that in A the R.H. arpeggio overlaps with the accidentals, which almost certainly means that Chopin did not leave space for an arpeggio while writing the chord. In GE the L.H. arpeggio was reproduced correctly, while in the R.H. the Chopinesque vertical slur (indicating an arpeggio) was considered a conventional slur running from the grace note. This version was adopted by EE2. 

category imprint: Differences between sources

issues: Errors in FE , GE revisions