Rhythm
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b. 3-19
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composition: Op. 49, Fantaisie in F minor
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One of the intriguing features of FCs is the almost complete absence of augmentation dots in If the Chopinesque sketch was actually devoid of dots, one could assume that Chopin first wrote bare quavers in these places and then added semiquaver beams "en bloc", omitting the majority of dots due to their obvious nature in this situation. category imprint: Interpretations within context; Corrections & alterations; Source & stylistic information |
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b. 4-15
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composition: Op. 49, Fantaisie in F minor
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The missing ties to f in EE1 in bars 4-5 and 14-15 are probably the engraver's mistakes, corrected in EE2. However, it should be mentioned that the FE notation in bars 4-5 is inaccurate, which could have misled the engraver of EE1 – in bar 4 the tie is placed too low, next to the stem, and not the notehead, while in bar 5 the ending of the tie is missing. category imprint: Differences between sources issues: EE revisions , Errors in EE |
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b. 7
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composition: Op. 49, Fantaisie in F minor
category imprint: Differences between sources; Corrections & alterations issues: EE revisions , Errors in FE , FE revisions |
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b. 9
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composition: Op. 49, Fantaisie in F minor
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An arpeggio preceded by a grace note, resulting in a repetition of the bottom chord note, belongs to Chopin's favourite ornaments – cf. e.g. bars 18 and 320 or the Polonaise in F category imprint: Differences between sources issues: EE revisions |
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b. 14-15
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composition: Op. 49, Fantaisie in F minor
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The missing tie to a category imprint: Differences between sources issues: Errors in GE |
groups. The dots are present only in bar 3 next to d
2, in the 2nd half of bar 9 (all necessary ones), in bar 17 next to the e1-g
1-b1-e2 chord and in bar 22 next to a1, which means that 56 dots were omitted. It could be a feature of Chopin's sketch autograph reproduced by Fontana or facilitation applied by the copyist, who, perhaps, was copying it under time pressure. We prefer the former – if Fontana had been omitting dots due to time pressure, he could have added them later. On the other hand, since he was copying Chopin's incomplete and, consequently, ambiguous notation, he could be afraid that he might guess it incorrectly.
