Op. 2, Variations in B♭ major
Op. 10, 12 Etudes
Op. 11, Concerto in E minor
Op. 21, Concerto in F minor
Op. 22, Polonaise in E♭ major
Op. 24, 4 Mazurkas
Op. 25, 12 Etudes
Op. 26, 2 Polonaises
Op. 27, 2 Nocturnes
Op. 28, 24 Preludes
Op. 30, 4 Mazurkas
Op. 35, Sonata in B♭ minor
Op. 50, 3 Mazurkas
Op. 63, 3 Mazurkas
Op. 64, 3 Waltzes
Op. 49, Fantaisie in F minor
In bars 1-2 and 5-7 the opening sequence of the Fantasy is written down in FCs with the use of one-part notation, without the L.H. part. Moreover, nothing points to the fact that the motifs should be doubled in the lower octave; however, it is highly likely:
- All stems are pointing upwards, although Chopin would generally write stems under noteheads. This suggests that space was left for the L.H. part (below the written-down line).
- No rests for the part of the second hand.
- This phrase having been texturally diversified in bars 11-12, in which the melody is doubled and sometimes even tripled in lower octaves, is natural only when both hands perform in unison already in bars 1-2 and 5-7. Otherwise the contrast seems too considerable and unjustified by the phrase development.
See also bar 7.
Compare the passage in the sources »
category imprint: Interpretations within context; Source & stylistic information
issues: Bass register changes
notation: Pitch
