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
Notation
All
Pitch
Rhythm
Slurs
Articulation, Accents, Hairpins
Verbal indications
Pedalling
Fingering
Ornaments
Shorthand & other
Importance
All
Important
Main
Undo Clear

b. 308

composition: Op. 49, Fantaisie in F minor

c2-g2-c3 in A (→GE) & FE2 (→EE)

d2-g2-c3 in FE1
..

The fact that the A version was restored at the stage of proofreading FE2 (→EE), perhaps at Chopin's request, indicates that the FE1 version is almost certainly erroneous.

category imprint: Differences between sources; Corrections & alterations

issues: Errors in FE , Authentic corrections of FE , FE revisions

b. 310

composition: Op. 49, Fantaisie in F minor

 &  in A (→GE) & EE2

in FE (→EE1)
..

The difference in the position of  between A and FE suggests that this indication did not get into FE on the basis of A (through [FC]), but was added independently to A and to FE or [FC]. It should be noted that each version is an element of an authentic, different concept of performing this theme (already from bar 290), quite consistently differentiated between A and FE.

category imprint: Differences between sources; Corrections & alterations

issues: EE revisions , Corrections in A

b. 310

composition: Op. 49, Fantaisie in F minor

Wedge & staccato dot in A

2 dots in GE

No marks in FE (→EE)
..

The staccato marks for the right and the left hands were probably added by Chopin to A later (after [FC] had been finished), like many other indications in this fragment. In GE the wedge over the R.H. chord was considered a carelessly written dot, which is very frequent in the B & H editions.

category imprint: Differences between sources

issues: Inaccuracies in GE , Wedges

b. 311-315

composition: Op. 49, Fantaisie in F minor

..

In bar 311, 313 and 315 Chopin overlooked in A some necessary accidentals in the final fragments of the R.H. passages, yet due to the fact that the entire fragment was written without an octave sign, the number of missing accidentals is lower than in the previous analogous passages – in bar 311 there are no naturals to the last two quavers; in bar 313 there are no sharps and naturals (5 accidentals in total) in the 2nd half of the bar; in bar 315 there is no  at the beginning of the 4th triplet. This version was repeated by FE1, while FE2 added all the necessary accidentals in bar 311 and 313. The versions of GE and EE are fully correct.
In the main text we omit the  to e2 in bar 315, unnecessarily repeated in the sources to the 9th quaver.

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

issues: EE revisions , Accidentals in different octaves , GE revisions , Cautionary accidentals , FE revisions , Errors repeated in FE

b. 311-312

composition: Op. 49, Fantaisie in F minor

..

In the 2nd half of bar 311 the L.H. part was corrected twice in A, which is evidenced by the visible deletions. Eventually, Chopin was forced to write the final version on the stave below. The initial entry was very carefully crossed out – first alone and then with the entire 2nd half of the bar – hence it is difficult to say what it was. In an analogous place in bar 313 a d1-e1-g1-b1 chord was deleted (a crotchet, without division into parts); perhaps this was also the case here (rather without a rest). Anyway, Chopin then wrote – still on the same stave – a version close to the final one, yet with 4 minims in the bottom voice, b-d1-e1-g1. The notation of this version was almost finished, with all necessary accidentals, a slur and the correct, five-note chord at the beginning of the next bar: .

category imprint: Corrections & alterations; Source & stylistic information

issues: Corrections in A , Deletions in A , Accompaniment changes