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Op. 49, Fantaisie in F minor

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Rhythm

b. 154

composition: Op. 49, Fantaisie in F minor

Rhythm with semiquaver in A (→GE)

Rhythm with quaver in FE (→EE)
..

The FE (→EE) rhythm is the initial version. To the main text we adopt the rhythm corrected by Chopin in A (→GE), after [FC] (→FE) had been finished – the correction is proven by small graphic details, e.g. a slightly different colour intensity of the added dots and semiquaver flags. The quaver triplet movement, prevailing both before and after this bar, allows us to assume that the variation is only of graphic nature – Chopin tried to write a rhythm in which the last played note is a triplet quaver in the simplest way possible, which, in this situation, is to be considered the most appropriate performance.
The same applies to bar 234. 

category imprint: Differences between sources; Corrections & alterations

issues: Corrections in A

b. 164-169

composition: Op. 49, Fantaisie in F minor

Semiquaver over L.H. quaver in A & FE

Semiquaver after L.H. quaver in GE & EE
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As in bars 77-82, moving the semiquavers in bars 164-166 and 168-169 beyond the 3rd quaver of a respective L.H. triplet was an arbitrary change by the revisers of GE and EE.

category imprint: Differences between sources

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

b. 165

composition: Op. 49, Fantaisie in F minor

Quaver a2 together with c3 in A & FE

Semiquaver a2 together with c3 in EE

Quaver a2 before c3 in GE
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As in bars 78-82, the notation of the R.H. bottom voice quavers at the end of the bar (also in bar 167 and 169) is an arbitrary revision by GE, contrary to the A notation and the resulting performance.

category imprint: Differences between sources

issues: GE revisions

b. 167-169

composition: Op. 49, Fantaisie in F minor

a1 together with c2/c2 in A & EE

a1 before c2/c2 in FE & GE
..

In bar 167 and 169, moving the last bottom voice quaver between the 2nd and 3rd notes of the top voice triplet was an arbitrary decision by the engravers of GE and FE. In EE the Chopinesque notation was probably introduced on the basis of the majority of the previous similar situations (bar 78 and 82 and 165).

category imprint: Differences between sources

issues: EE revisions , GE revisions , FE revisions

b. 180-187

composition: Op. 49, Fantaisie in F minor

..

Between bars 180-181, 182-183 and analog., in addition to four necessary ties, FE includes a fifth one, at the pitch of b. This is a routine revision (in similar contexts ties are often overlooked), yet in this case it must be erroneous – in bar 180 and 184 there is no b note to which this tie could apply, whereas in bars 182-183 and 186-187 tying b would deprive the motif of its last note. In EE the ties were reproduced inaccurately – the tie in bars 184-185 was overlooked, whereas the one in bars 180-181 was provided with the form of a slur, combining c1-b.
Interestingly, in bars 182-183 this kind of superfluous tie is also in A (→GE), most probably entered by mistake.

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

issues: EE revisions , Errors in EE , Errors of A , FE revisions