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No L.H. octaves in sources |
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Octaves suggested by the editors |
It seems highly likely that Chopin did not repeat the L.H. octave doublings in these bars – cf. bars 11-12 – only due to the fact that the pianos at his disposal did not include C
1, necessary to end the phrase in a consistent manner. This is supported by the presence of similar, sometimes even more obvious textural inconsistencies in a few other pieces, e.g. in the Scherzo in C
minor, Op. 39, bar 197 and 315 or in the Polonaise in E, Op. 22, bar 84. In this very fragment of the Fantasy an additional argument is provided by the FCs notation, in which the minim in bar 16 is a C-c octave with an 8 indicating that the bottom note should be doubled in an octave, C1-C (see the note above). Assuming that it approximately corresponds to the notation of the Chopinesque sketch, one can suppose that Chopin 'automatically' wrote here the musically necessary C1, and only then (or maybe even only just while preparing the fair-copy) did he realise that the note goes beyond the piano's range and removed the bottom octave doublings in bars 15-16. This justifies the suggested editorial addition, since one could believe that the composer would have actually introduced the notes going beyond the available piano's range if he had had the right instrument at his disposal.
Compare the passage in the sources »
category imprint: Editorial revisions
issues: Bass register changes
notation: Pitch