mUltimate Chopin

Op. 49, Fantaisie in F minor

Text Compare Notes Sources Description
Select: 
Category
All
Graphic ambiguousness
Interpretations within context
Differences between sources
Editorial revisions
Corrections & alterations
Source & stylistic information
Pitch
All
Pitch
Rhythm
Slurs
Articulation, Accents, Hairpins
Verbal indications
Pedalling
Fingering
Ornaments
Shorthand & other
Importance
All
Important
Main
Undo Clear

Pitch

b. 55

composition: Op. 49, Fantaisie in F minor

B & e in A (→GE) & EE2

d in FE1

B in FE2 (→EE1)
..

The d note, present in FE1, must be erroneous, which is proven by the tie reaching it from the preceding bar, as well as by the fact that it would be a completely unjustified deviation from the structure of analogous motifs. However, the origin of this version is unclear. One could think of a Terzverschreibung error  – d instead of B, which should be in this chord as a tied note. According to us, it is confusion of bars that is more likely – the only correctly engraved note was E, while the remaining ones, d-g-b, were taken from the bottom stave in bar 57, confusingly similar with regard to the top notes. This would explain both the wrong pitch and the presence of 4 notes only in this chord. In FE2 (→EE1) this note was corrected to B, yet without adding e, which we consider a simplified or unfinished correction. Moreover, in both versions it is impossible to sustain the e quaver in the next bar, which is confirmed by the lack of a respective tie.
The correct text of EE2 was most probably drawn from GE1. 

category imprint: Differences between sources

issues: EE revisions , Errors in FE , Errors resulting from corrections , Terzverschreibung error , Authentic corrections of FE , FE revisions

b. 56

composition: Op. 49, Fantaisie in F minor

..

In A there is no  to the 2nd quaver in the bar, which found its way into FE through [FC]. The patent inaccuracy was corrected in GE and EE.

category imprint: Interpretations within context; Differences between sources

issues: EE revisions , Accidentals in different octaves , GE revisions , Inaccuracies in A , Errors repeated in FE

b. 64-66

composition: Op. 49, Fantaisie in F minor

..

In A (→FE1) there are no accidentals to the last quavers in bars 64 and 65 – a cautionary  to c3 and a  lowering g1 to g1, respectively. Both accidentals were added by FE2 (→EE) and GE. In EE a cautionary  to c1 in bar 66 was also added. We include all the above accidentals in the main text.

category imprint: Interpretations within context; Differences between sources; Editorial revisions

issues: EE revisions , Accidentals in different octaves , GE revisions , FE revisions , Inaccuracies in A , Errors repeated in FE

b. 66

composition: Op. 49, Fantaisie in F minor

..

In A and FE1 the bass clef before the 2nd half of the bar is missing. The patent oversight was corrected in GE and FE2 (→EE).

category imprint: Interpretations within context; Differences between sources

issues: GE revisions , Errors of A , FE revisions , Errors repeated in FE

b. 67

composition: Op. 49, Fantaisie in F minor

G1 in A (→FE), literal reading

G1 in GE & EE2

G1 in EE1

G1 suggested by the editors
..

The missing accidental to the 12th semiquaver formally means that it is a G1. However, in similar contexts, Chopin would often consider the accidentals to the same note in a different octave in a given bar to still be valid. Taking into account the 4th semiquaver, G, the discussed note should rather be deemed G1. The revisers of GE and EE1 differed on this issue; the change introduced by EE2 could have been inspired by the GE1 text.

category imprint: Differences between sources; Editorial revisions

issues: EE revisions , Accidentals in different octaves , GE revisions , Inaccuracies in A