b. 264
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composition: Op. 49, Fantaisie in F minor
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In the last two R.H. quavers one can see deleted e3 notes in A. category imprint: Corrections & alterations; Source & stylistic information issues: Corrections in A , Deletions in A , Accompaniment changes |
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b. 264
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composition: Op. 49, Fantaisie in F minor
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The cautionary to c2 was added – perhaps at Chopin's request – at the stage of proofreading FE1 (→FE2→EE). category imprint: Differences between sources issues: Cautionary accidentals , Authentic corrections of FE |
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b. 264-265
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composition: Op. 49, Fantaisie in F minor
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The shorter marking in GE must have been an arbitrary decision by the engraver, who adjusted the sign to the bar. By contrast, the FE hairpin, of the same range as in GE, can be coming from Chopin, who would add some performance markings twice – both to A after [FC] had been finished, and to [FC] or proofs of FE1. This is also supported by the presence of a hairpin in FE at the beginning of bar 265 – with longer hairpin this sign would be contradictory. category imprint: Differences between sources issues: Inaccuracies in GE , Scope of dynamic hairpins |
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b. 265
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composition: Op. 49, Fantaisie in F minor
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In A there are visible traces of corrections to the R.H. triplet. Chopin initially wrote it half a tone lower, as in three analogous bar 94, 98 and 261. A side effect of the correction could have been an oversight of the restoring g2 in the 2nd half of the bar – in the initial version of this triplet the accidental was not necessary (see note next to this minim). category imprint: Corrections & alterations; Source & stylistic information issues: Corrections in A , Errors resulting from corrections , Deletions in A , Main-line changes |
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b. 265
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composition: Op. 49, Fantaisie in F minor category imprint: Differences between sources issues: Errors in GE , GE revisions |