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b. 235-236
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composition: Op. 49, Fantaisie in F minor
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As in bars 68-69 and 155-156, both versions – with three accents in A and with one accent in FE – are authentic and can be considered equal. Due to this reason, in the main text we suggest a variant solution. EE2 added the accents noticed in GE1, yet they were considered short, in spite of the fact that the first mark, repeated after FE, was reproduced correctly as a long accent. category imprint: Differences between sources; Editorial revisions issues: Long accents , EE revisions , EE inaccuracies |
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b. 235-236
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composition: Op. 49, Fantaisie in F minor
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The missing pedal markings in GE1 must be an oversight (bar 235 ends a page, which is conducive to defects; in this case the engraver's distraction also included the preceding bar – see the note on the slur and category imprint: Differences between sources; Editorial revisions 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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Out of the 27 half-bar accompaniment figures in three appearances of this theme (bars 68-72, 155-159 and 235-239), it is only in three of them that a change of the chord on which the figuration is based occurs in the middle of the figure, that is on the 4th quaver. The first time (bar 69) Chopin considered it in the pedal markings, whereas the next two times, right in the discussed bars, he did not. According to us, it is the composer's oversight, most probably resulting from haste in refining the manuscript (pedal markings were generally added to the finished text, in terms of rhythm and pitch, as one of the last elements of notation). Due to the above, in the main text we suggest a variant solution, with a possibility of releasing (changing) the pedal after the 1st triplet in each figure. category imprint: Editorial revisions issues: Inaccuracies in A |
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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. 238
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composition: Op. 49, Fantaisie in F minor
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The first quaver in the last triplet was initially written as B category imprint: Differences between sources; Corrections & alterations issues: Corrections in A , Deletions in A , Accompaniment changes |
). On the other hand, one can doubt whether the marks that are absent in 
in