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Op. 49, Fantaisie in F minor

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b. 282

composition: Op. 49, Fantaisie in F minor

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In the 2nd half of the bar the top note of the 2nd L.H. quaver is a b in FE1. The mistake was corrected in FE2 (→EE).

category imprint: Interpretations within context; Differences between sources

issues: Errors in FE , FE revisions

b. 283

composition: Op. 49, Fantaisie in F minor

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In A one can see a deletion before the 1st L.H. crotchet, yet it allows us to decipher the removed element, that is a C1-E tenth. Therefore, this is a self-correction of a frequent mistake in Chopin's autographs consisting in adding too many ledger lines (cf., e.g. the Polonaise in C minor, Op. 26 No. 1, bar 5 or the Nocturne in D, Op. 27 No. 2, bar 44). 

category imprint: Corrections & alterations; Source & stylistic information

issues: Corrections in A , Terzverschreibung error , Errors in the number of ledger lines , Deletions in A

b. 283-285

composition: Op. 49, Fantaisie in F minor

2  & long accent in A, literal reading

3  in GE

Short accent & 2  in FE

Long accent & 2  in EE

3 long accents suggested by the editors
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As in bar 110, 112 and 114, the  marks written in A, the first two of which are longer than typical long accents, are to be uniformly interpreted as long accents. This is supported by the A notation in analogous bars 116-118, in which the marks are clearly long accents. The versions of the editions resulted from the overlapping of interpretation inaccuracies and the attempts to assign the marks to one of the two categories – short accent or diminuendo hairpin.

category imprint: Graphic ambiguousness; Differences between sources

issues: Long accents , Inaccuracies in GE , Inaccuracies in FE , EE inaccuracies

b. 283-286

composition: Op. 49, Fantaisie in F minor

3 slurs from quaver in A, contextual interpretation

2 slurs from quaver in GE1

3 slurs from minim in FE

3 slurs from minim after FE

2 slurs from minim in EE1

2 long, 1 short slur in EE2

1 long, 2 short slurs in GE2
..

The fact that the starting point of the slurs is consistently different suggests that Chopin wrote them independently first in A after [FC] had been finished and then in [FC] or FE1. In both places, in A in bars 285-286 and in FE in bars 283-284, the slurs do not reach the next bar. According to us, these are inaccuracies of notation, while in A it is so obvious that we provide a literal interpretation of this slur only in the graphic transcription. The missing slurs in GE1 in bars 283-284 and in EE1 in bars 285-286 are definitely of an accidental nature. The former was added by GE2, starting from the minim. The slur that was overlooked in EE1 was added by EE2 on the basis of GE1. In the main text we provide a contextual interpretation of the A slurs, consistent with the slurs in analogous bars 116-119. We consider the slurs based on the FE version, with the first slur having been extended, to be an acceptable variant.  

category imprint: Graphic ambiguousness; Differences between sources

issues: EE revisions , Errors in EE , Inaccurate slurs in A , Errors in GE

b. 285-286

composition: Op. 49, Fantaisie in F minor

Slur from semiquaver in A & GE2

No slur in FE (→EE1)

Slur from dotted quaver in GE1

2 slurs from dotted quaver in EE2
..

In the main text we provide the L.H. slur after the A notation. In GE1 the range of the slur was adjusted to the R.H. slur, and it was in this form that the slur was repeated by EE2, whereas in GE2 the A version was restored. It is difficult to say what the motives of EE2 were when adding another slur of the same range – it could have been, e.g. an unfinished correction in which one of those slurs were supposed to be replaced by the other, yet the stage of removal of the superfluous slur was overlooked. 

category imprint: Differences between sources

issues: EE revisions , GE revisions