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Op. 49, Fantaisie in F minor

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b. 244-248

composition: Op. 49, Fantaisie in F minor

g3(2) repeated in A (→GE)

g3(2) tied in FE (→EE)
..

Both performance variants of the grace note in bar 244 and 248 are most probably authentic – in similar contexts Chopin used both tied grace notes (e.g. analogous bar 77 and 81 and 164 and 168) and repeated grace notes (e.g. Allegro de concert, Op. 46, bar 213 or Polonaise-Fantaisie, Op. 61, bar 61). On the other hand, we cannot rule out an oversight of the ties in A and them having been added as 'obvious' by Fontana to [FC]. In the main text we give the version with tied grace notes, in the belief that the correction to [FC] or at the stage of proofreading of FE1 was introduced by Chopin himself, correcting his inaccuracy from A or foregoing the differentiation of this detail between the particular appearances of this theme.

category imprint: Differences between sources

issues: Authentic corrections of FE

b. 244

composition: Op. 49, Fantaisie in F minor

in A (→GE) & EE2

No sign in FE (→EE1)
..

As in bar 81, 164 and 168, the  hairpin was almost certainly added by Chopin to A after [FC] had been finished, which explains its absence in FE (→EE1). In EE2 the mark was added on the basis of GE1.

category imprint: Differences between sources; Corrections & alterations

issues: EE revisions

b. 245-249

composition: Op. 49, Fantaisie in F minor

Semiquaver under last triplet quaver in A & FE (→EE)

Semiquaver after last triplet quaver in GE
..

At the end of bar 245, 247 and 249, as in bars 78-82 and 165-169, the GE notation is an arbitrary revision of this edition, contrary to the A notation and the resulting performance. It is noteworthy that in the third appearance of this theme Chopin wrote down the rhythm of the bottom voice three times differently than before, although the performance, indicated by the alignment of notes in both voices, is undoubtedly the same.

category imprint: Differences between sources

issues: GE revisions , Dotted rhythms and triplets

b. 245-249

composition: Op. 49, Fantaisie in F minor

Semiquaver over L.H. quaver in A & FE

Semiquaver after L.H. quaver in GE & EE
..

As in bars 77-82, moving the semiquavers in bar 245 and 248-249 beyond the 3rd quaver of a respective L.H. triplet was an arbitrary decision by the revisers of GE and EE.

category imprint: Differences between sources

issues: EE revisions , GE revisions , Dotted rhythms and triplets

b. 245

composition: Op. 49, Fantaisie in F minor

..

In FE1 the bottom note of the 1st R.H. quaver is a g3 instead of f3. The mistake was corrected in FE2 (→EE).

category imprint: Interpretations within context; Differences between sources

issues: Errors in FE , FE revisions