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Op. 49, Fantaisie in F minor

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Rhythm

b. 210-211

composition: Op. 49, Fantaisie in F minor

Sixth tied in A (→GE) & EE2

Sixth repeated in FE (→EE1)
..

The absence of the ties to the e1-c2 sixth is most probably an oversight by the copyist or by the engraver of FE. The ties were added in EE2 on the basis of a comparison with GE1.

category imprint: Differences between sources

issues: EE revisions , Errors in FE

b. 214

composition: Op. 49, Fantaisie in F minor

..

The deletions visible in A reveal that the decision concerning the 2nd and 3rd beats of the bar in the L.H. part was changed twice. Two versions were deleted, one of which – most probably the initial one – is identical to the final text (the F1-F minim). In the second deleted version Chopin kept simultaneous chords (including basses) to the end: .

category imprint: Corrections & alterations; Source & stylistic information

issues: Corrections in A , Chopin's hesitations , Deletions in A

b. 218

composition: Op. 49, Fantaisie in F minor

Dotted minim in A (→GE)

Minim & crotchet in FE (→EE)
..

Both source versions must be authentic, and both resulted from corrections:

  • in A Chopin initially wrote the following version: , in which he then crossed out both crotchets on the 3rd beat of the bar and added dots prolonging the minims;
  • the FE version resulted from the final A version, which is confirmed by traces of performing corrections in print, visible in some copies, in particular the trace of the dot prolonging the a minim.

In this situation in the main text we give the FE version, having resulted from Chopin's most mature reflection; he eventually opted for the same version as in bar 202. 

category imprint: Differences between sources; Corrections & alterations

issues: Corrections in A , Chopin's hesitations , Deletions in A , Accompaniment changes , Authentic corrections of FE

b. 219-220

composition: Op. 49, Fantaisie in F minor

Semiquaver over L.H. quaver in A & FE

Semiquaver after L.H. quaver in GE & EE
..

As in bars 77-82 and analog., shifting the R.H. semiquaver beyond the 3rd quaver in the L.H. triplet was an arbitrary decision by the engravers of GE and EE, contrary to Chopin's understanding of such combinations.

category imprint: Differences between sources

issues: EE revisions , GE revisions , Dotted rhythms and triplets

b. 223

composition: Op. 49, Fantaisie in F minor

 in A (→GE)

No time signature in FE

 in EE
..

Chopin added the  time signature marking to A after the basis for FE had been finished, which explains its absence in that edition. EE corrected the mistake by adding a , which was present in bar 1, which could be justified to a certain extent, as the Chopinesque Tempo primo indication may be misleading, since it seems to direct us to the beginning of the piece.

category imprint: Interpretations within context; Differences between sources; Corrections & alterations; Source & stylistic information

issues: Corrections in A , Errors of A , Errors repeated in FE