Slurs
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b. 5-15
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composition: Op. 49, Fantaisie in F minor
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In bars 5 and 15, opening new lines, the endings of some slurs/ties from the previous bars were omitted in FE – of the slur in bar 5 and of the slur and of the tie to a category imprint: Graphic ambiguousness; Source & stylistic information issues: EE revisions , Inaccuracies in FE , Uncertain slur continuation |
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b. 6-7
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composition: Op. 49, Fantaisie in F minor
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The missing articulation markings between the bars may be explained by an oversight by the copyist or by the engraver of FE or – which seems less likely in this case – by the markings having been added to A later. The fact that the marks were added by EE2 most probably resulted from using GE1 while revising. category imprint: Differences between sources issues: EE revisions |
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b. 8-9
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composition: Op. 49, Fantaisie in F minor
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In A in bar 8, which ends the line, the slur reaches only the f2 semiquaver, which does not correspond to the slur at the beginning of bar 9, which clearly suggests that it should be continued. All the remaining sources include a continuous slur here. category imprint: Graphic ambiguousness; Source & stylistic information issues: Uncertain slur continuation , Inaccuracies in A |
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b. 9
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composition: Op. 49, Fantaisie in F minor
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In the main text we give the undoubtedly authentic slurs of A (→GE). The continuous slur of FE (→EE) may also be authentic and even later than the A version, since Chopin could have combined the slurs in [FC]. However, it is uncertain – the slurs could have been inaccurately reproduced by the copyist or by the engraver. category imprint: Differences between sources |
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b. 10
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composition: Op. 49, Fantaisie in F minor
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In the main text we do not include the triplet slurs present in some sources (cf. General Editorial Principles, p. 16), especially since Chopin did not write them in A. category imprint: Differences between sources issues: EE revisions |
1 in bar 15. The inaccuracies did not mislead the engraver/reviser of 
