To the very end of the work on the Fantasy, Chopin was uncertain how to describe the tempo and character of the initial section. The deleted indication visible in A (most probably the initial version) presumably started with Lento and did not suggest that the introduction should resemble a march. Therefore, the latter must have been added later, probably as corrections to A and [FC]; however, it is difficult to say which version was later – whether Chopin considered Tempo di marcia insufficient and in A added Grave to specify Marcia, or whether he abandoned Grave while adding the finishing touches to [FC], perhaps considering the more cheerful mood in bars 21-36.
The answers can be sought in Chopin's letters concerning the publication process of the Fantasy. In the 2nd half of October 1841, Chopin sent from Nohant autographs of his pieces to Fontana in Paris, entrusting him with copying them (Op. 46, 48 and 47 and 49*, respectively). On 2 November, he came to Paris, where, for a few days, he had the opportunity to look through and revise both autographs and Fontana's copies. On 12 November, the autographs of the above pieces were sent to Breitkopf and Härtel**. The copies meant for the Parisian editor, who eventually turned out to be Schlesinger, stayed in Paris, and it is impossible to determine the moment they were handed over to the Parisian editor as precisely as in the case of the German editor. Nevertheless, on 3 December, Chopin writes to B & H that Schlesinger "already started engraving", which can be considered a hint that Chopin kept the copies longer than the autographs. Therefore, the composer could have had the opportunity to introduce possible corrections into [FC] at a time when he had no longer access to A. However, we do not know whether it was actually the case and whether Chopin took the opportunity to change something in [FC]. On the other hand, A seems to be more carefully developed than [FC] – it contains more various indications – which would not confirm the above hypothesis. As there are no clear hints as to the chronology of both versions of the indication concerning the tempo/character, in the main text we provide the more detailed indication of the principal source, that is A.
The EE2 version is a compilation – Grave must have been added after comparing it with GE1.
* Letter of 18 October 1841: "[...] today I am sending you Allegro maestoso [...]" and further on "Tomorrow you will receive the Nocturne [Nocturnes, Op. 48], and by the end of the week the Ballade [Op. 47] and the Fantasy [Op. 49]". The mailing of the further pieces was slightly delayed, which is proven by the letter of 25 October: "I am sending you two Nocturnes and the rest [Op. 47 and 49] on Wednesday [27 October]." The latter has been hitherto dated after Sydow a week later, that is 1 November, probably on the basis of the following statement: "My departure is delayed, so I will be in Paris not before 6 or 8 [November]". However, the announced delay did not actually happen, since on 1 November Chopin and George Sand were already on their way to Paris – they arrived on 2 November, of which the composer informed Fontana in a letter of 27 October – "We will certainly arrive on Monday [Chopin's mistake, it was Tuesday], that is on 2 [November] [...]". This date is eventually confirmed by George Sand's letter to her son Maurice, sent from Paris on 6 November: "[...] we have been in Paris for three days [...]".
** Chopin's letter to the B&H company, sent on 12 November – "Dear Gentlemen. I am sending you my 4 manuscripts [the mentioned titles Op. 46-49]"
Compare the passage in the sources »
category imprint: Differences between sources; Corrections & alterations
notation: Verbal indications