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Op. 49, Fantaisie in F minor

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Rhythm

b. 186

composition: Op. 49, Fantaisie in F minor

B tied in A, FE (→EE) & GE2

B repeated in GE1
..

The missing first tie to B must be a mistake, corrected in GE2.

category imprint: Differences between sources

issues: Errors in GE , GE revisions

b. 198

composition: Op. 49, Fantaisie in F minor

..

In FE there is no fermata under the L.H. octave. The mark was added by EE; it is also in the remaining sources.

category imprint: Differences between sources

issues: Inaccuracies in FE

b. 199-200

composition: Op. 49, Fantaisie in F minor

d1 minim tied over in A & FE (→EE)

d1 tied over barline in GE1

No tying in GE2
..

Tying the d1 quaver to the next bar is a typical mistake of the engraver of GE1, who, instead of a tie running to the right of the minim, inserted its mirror reflection – a tie to the left. The attempt to correct this mistake in GE2 did not result in the right version – the wrong tie was removed, yet the right one was not added.

category imprint: Differences between sources

issues: Sign reversal

b. 202

composition: Op. 49, Fantaisie in F minor

Dotted minim in A

Minim in GE & FE (→EE)
..

The augmentation dot to F was overlooked in the editions due to the then convention of putting such dots in a place in which the tied note represented by the dot would be, in this case under g in the tenor voice. Chopin would use this convention rather as an exception (e.g. in the middle voices in bars 30-31 and 34-35 in the Etude in E, Op. 10 No. 3); therefore, it is not surprising that this dot, so far away from the note, was overlooked.

category imprint: Differences between sources

issues: Errors in FE , Errors in GE

b. 203

composition: Op. 49, Fantaisie in F minor

Quavers in A (→GE)

Dotted rhythm in FE

Dotted rhythm in EE
..

In FE the part of the quaver beam to the right of g1 is slightly more tilted than the preceding section. It could mean that changes were being made in print, which would suggest a Chopinesuqe correction to the rhythm in this place. However, it is not certain, hence in the main text we keep the A version (GE). The FE version – most probably authentic – can be considered an equal variant. Such rhythmic variations are the most common type of rhythmic variants in Chopin's pieces.

EE basically repeated the FE version, yet the semiquaver was placed after the 3rd quaver of the L.H. triplet, contrary to the convention used by Chopin and kept in FE.

category imprint: Differences between sources

issues: EE revisions , Authentic corrections of FE , Dotted rhythms and triplets , Dotted or even rhythm