Op. 49, Fantaisie in F minor

EE1 is based on a proof copy of FE2 – [FE2p] – not including the few last corrections. It also bears traces of the activities of a reviser, namely Ignaz Moscheles*. Chopin did not collaborate on EE1.

EE1 included the vast majority of FE2 corrections, including almost all mentioned in the description of FE2 (except the change in bar 9, of questionable authenticity). Among the changes that were not included, it is the corrections of patent FE1 mistakes that are most significant for determining the suggested filiation; hence, these mistakes are also present in EE1:

•  instead of  to the topmost note in bar 18 (in the final EE1 version corrected in print),
• C instead of B₁ in bar 31,
• F instead of G in bar 220.

In EE1 a number of mistakes and inaccuracies of the FE text were accurately corrected:

• necessary accidentals were added, e.g. a  to g² in bar 17, a  to G in bar 56, a  to b² in bar 146; flats to g in bars 150-151;
• cautionary accidentals were added, e.g. naturals at the beginning of bar 19, in bar 66, 214; flats in bars 73-74;
• in the last chord in bar 39 the erroneous g¹ note was corrected to f¹;
• L.H. slur was added in bar 42;
• a tie to g was added in bars 57-58;
• the last R.H. bottom voice quaver was moved under the third triplet note of the top voice in bar 80, 167 and 169;
• unjustified naturals were removed, e.g. in bars 86-89, 96, 121;
• the slur in bar 220 was prolonged; the slur in bar 240 was divided.

Other, less justified or arbitrary interventions include:

•  added at the beginning of bar 8;
• slurs added over triplets in bar 10;
• a cautionary  added to G₁ in bar 67;
• moving the semiquaver beyond the 3rd triplet quaver in bars 77-82 and analog., contrary to the Chopinesque understanding of such combinations;
• naturals raising d²⁽³⁾ to d²⁽³⁾ added in bar 148.

In EE1 a number of mistakes was committed too, e.g. the following were overlooked:

• tie to f in bars 4-5 and 14-15,
• fingering digit in bar 61,
• pedal markings in bar 68,
• slurs in bar 86 and 89 (next to grace notes), 121-122,
• accent in bar 148.

The provided title – Grand Fantasy – is on the collective title page. The added indication cannot be authentic and constitutes an element of the publisher's marketing policy (cf., e.g. Nocturnes, Op. 27). In the header of the first page containing notes, the piece was described as Second Fantasy [Seconde Fantaisie], which, although equally inauthentic, is closer to Chopin's habits, who would sometimes – e.g. in the mentioned Op. 27 – provide a piece of a given genre with a subsequent number in his autographs. 

^* Moscheles' participation in the revision of EE1 of the Fantasy as well as the relation between EE1 and both impressions of FE are proven by the letters exchanged between Moscheles and Schlesinger – see the Polonaise in F minor, Op. 44, which was published in France and England following the same scheme as the Fantasy (as well as opuses 46-48).