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Op. 49, Fantaisie in F minor

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b. 265

composition: Op. 49, Fantaisie in F minor

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In A (→GE) there is no  restoring g2 in the middle of the bar. Chopin's patent oversight was corrected in FE (→EE), which could have been done by Chopin himself in [FC] or while proofreading FE1.

category imprint: Interpretations within context; Differences between sources

issues: Omissions to cancel alteration , Errors of A , Authentic corrections of FE , Errors repeated in GE

b. 266-267

composition: Op. 49, Fantaisie in F minor

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As in analogous bars 109-116, the slurs over the octave sequences are certainly supposed to reach the final crotchets. It was generally precisely marked in the sources except a minor inaccuracy due to the transition to a new line – in A and FE there is no ending of the slur from bar 276 in bar 277. It was corrected both in GE and EE.

category imprint: Graphic ambiguousness; Differences between sources

issues: EE revisions , Inaccuracies in FE , GE revisions , Uncertain slur continuation , Inaccuracies in A

b. 266

composition: Op. 49, Fantaisie in F minor

Chord with a2 in A (→GE)

Octave in FE (→EE)
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The absence of a2 in FE (→EE) probably resulted from the inaccurate [FC] notation – notes written down as dots, as it was performed by both Chopin and Fontana, were sometimes very poorly visible at the intersection of a stem and a ledger line. 

category imprint: Differences between sources

issues: Errors in FE , Uncertain notes on ledger lines

b. 266

composition: Op. 49, Fantaisie in F minor

Separate slurs in A (→GE)

Continuous slur in FE (→EE)
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The range of the FE slur deviates from the slurs in all three previous analogous places (bars 95-96, 99-100 and 262-263), which suggests a mistake by the copyist or by the engraver.

category imprint: Differences between sources

b. 269

composition: Op. 49, Fantaisie in F minor

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In EE2 a cautionary  was added to e2 in the last quaver.

category imprint: Differences between sources

issues: EE revisions