A - Autograph
Autograph fair copy, the basis of [FC], and afterwards of GE1.
FE - French edition
M. Schlesinger, Paris, plate number M.S. 3489:
FE1 ‒ first French edition, December 1841,
FE2 – corrected impression of FE1, early 1842,
FEJ ‒ teaching copy of FE2 with Chopin’s annotations, belonging to his sister, Ludwika Jędrzejewicz,
FES ‒ teaching copy of FE2 with Chopin’s annotations, belonging to Jane Stirling.
GE - German edition
Additional source
FCs – lost, known from a photocopy in the Warsaw Archiwum Akt Nowych [Archive of Modern Records], Fontana's copy of the sketch of the march opening the Fantasy, bars 1-40. Despite the shorthand, incomplete script, reading the manuscript only raises serious doubts in a few places; we discuss them in the notes to bars 1-6, 3, 3-19, 24, 27, 36 and 38. There are no performance markings in the FCs. Copying the music verbatim at such an early stage of recording could not have been intended to present it to third parties – Fontana certainly made the FCs for his own private use.
The notation of FCs supports the reasoning behind adding bass octaves in the L.H. in the main text of bars 15-16.
| image | transcript | edited text |
|---|---|---|
| t. 1-40 | t. 1-20 | t. 1-20 |
| t. 21-40 | t. 21-40 |
Principles behind the main text of
the Fantaisie in F minor, Op. 49
Prior to submitting A and [FC] to the publishers, Chopin corrected and supplemented both manuscripts. Without [FC] an exact determination of the scope and chronology of these corrections is impossible. We take as our basis A, the source on which Chopin worked most carefully, considering later changes taken from FE, particularly the corrections made in print. We also take into consideration the changes made in the pupils’ copies.