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Op. 49, Fantaisie in F minor

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b. 15-16

composition: Op. 49, Fantaisie in F minor

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In FCs these bars are written in shorthand as empty bars marked with digits 1 and 2, whereby in bar 16 digit 2 is followed by a C-c minim (each note provided with a separate stem). However, as no other bars were marked with these digits, it is unclear which bars they should be referred to. There are 3 possibilities:

  1. The digits simply mean bars 1-2. It results in a reasonable continuation if we accept the imprecise notation at the beginning of bar 15 – the preceding two-bar phrase, marked in shorthand with digits 3 and 4, which is clear in this case, since these digits are also written above bars 3-4, must end with a chord, as in bar 5.
  2. The digits refer to bars 5-6. It is a perfect content match, while the seeming discrepancy in the numbers of bars could be explained by the fact that the notation of bars 5-6 is incomplete, assuming that it should be supplemented after more accurately written down bars 1-2.
  3. Chopin wanted to repeat here – changing the last minim – the version of bars 11-12. As in point 1, the version of the 1st crotchet in bar 15 should be sought in bar 5. In this case, digits 1-2 written in bars 15-16 should be understood as "bars preceding the bars marked a moment ago with digits 3-4". According to us, it is likely that Fontana, while copying this fragment, imagined bars 15-16 as a variant of bars 11-12, hence with octaves in the L.H. It would be indicated by the poorly visible mark written in FCs under the C-c octave, which we interpret as a deleted digit 8, marking the C1-C octave. This would suggest that Fontana wrote here an 8, which he saw in bar 12, and only later did he realise that in bar 16 it was absent in the Chopinesque sketch. One can even imagine a scenario in which this 8 was also in Chopin's original sketch, written down and perhaps deleted, yet not clearly enough for Fontana to know how to interpret it. Consequently, he first copied the digit and then deleted it.

The first two possibilities give the same result, compliant with the published version, in which the L.H. part is devoid of octave doublings. On the other hand, the third interpretation leads to a version featuring octaves, which we suggest in the main text – see the note below.

category imprint: Interpretations within context; Source & stylistic information

b. 15-16

composition: Op. 49, Fantaisie in F minor

No L.H. octaves in sources

Octaves suggested by the editors
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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 C1, 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.

category imprint: Editorial revisions

issues: Bass register changes

b. 16

composition: Op. 49, Fantaisie in F minor

ten. in A (→GE) & EE2

No indication in FE (→EE1)
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The missing ten. is most probably an oversight by the copyist or by the engraver of FE. The marking was added in EE2, most probably after comparing it with GE1.

category imprint: Differences between sources

issues: EE revisions

b. 17

composition: Op. 49, Fantaisie in F minor

b1 tied in A, FE (→EE) & GE2

b1 repeated in GE1
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The tie to b1 was overlooked by the engraver of GE1, which was corrected in GE2.

category imprint: Differences between sources

issues: Errors in GE , GE revisions

b. 17

composition: Op. 49, Fantaisie in F minor

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In A and FE the  raising g2 to g2 is missing. Chopin's patent inaccuracy was corrected in GE and EE.

category imprint: Interpretations within context; Differences between sources

issues: EE revisions , Accidentals in different octaves , GE revisions , Inaccuracies in A , Errors repeated in FE