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Op. 49, Fantaisie in F minor

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b. 36

composition: Op. 49, Fantaisie in F minor

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One could have doubts whether the grace note at the beginning of the R.H. part should be taken into account while complementing the incomplete, sketch notation of this bar in FCs. The first half of this bar is signalised as a repetition of bar 28, like 7 preceding bars, corresponding to bars 21-27. However, unlike in those bars, in the discussed place Chopin did not leave empty space but wrote two crotchet stems in the R.H. part, corresponding to the c2-a2 and b1-g2 crotchets. The absence of a signalised grace note could be considered a cue that it should not be included here. According to us, such a strict interpretation would be wrong:

  • if Chopin wanted to make a change with respect to bar 28, he would have written this fragment more accurately, as he did in the 2nd half of this bar, as well as in other similar situations, e.g. in bar 6 or 16;
  • Chopin would use simplified, incomplete cues to indicate the text in longer, briefly marked fragments even in fair-copies – cf. e.g. the Polonaise in E minor, Op. 26 No. 2, bar 105 and 153 (of course, with FCs being a sketch, the level of incompleteness is greater than in a fair-copy). Therefore, the described crotchet stems were probably supposed to make it easier to navigate through a text that was meant to be repeated.

Taking into account the above, in the content transcription (version "edited text") we provide a grace note.

category imprint: Interpretations within context; Source & stylistic information

b. 162-163

composition: Op. 49, Fantaisie in F minor

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The second L.H. figure in bar 162 and both in bar 163 were written in A with the use of shorthand notation with / marks. In GE and FE (→EE) they were written out in full.

category imprint: Differences between sources; Source & stylistic information

issues: GE revisions , Abbreviated notation of A , FE revisions

b. 195

composition: Op. 49, Fantaisie in F minor

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In A the R.H. part in this bar was written down using shorthand notation (with the help of •/•) as a repetition of the preceding bar. In GE and FE (→EE) the R.H. part was written out in full.

category imprint: Differences between sources

issues: GE revisions , Abbreviated notation of A , FE revisions

b. 287

composition: Op. 49, Fantaisie in F minor

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In FE the second half of the bar was written down using an abbreviation, as two crotchets with quaver tremolos. EE wrote this abbreviation in full, thus restoring – most probably unconsciously – the original notation.

category imprint: Differences between sources

issues: EE revisions , FE revisions

b. 320-321

composition: Op. 49, Fantaisie in F minor

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At the beginning of bar 320 and at the end of bar 321, in GE, and on the basis thereof also in EE2, regular bar lines were replaced by double bar lines. It is an arbitrary decision, contrary to Chopin's practices in this respect – he did not use double bar lines automatically when changing time signature or key.

category imprint: Differences between sources

issues: EE revisions , GE revisions