mUltimate Chopin

JC - Jędrzejewicz Copy

Copy of the piece's previous edition, made by the composer's sister, Ludwika Jędrzejewicz.

First Polish edition, J. Chrząszcz, Żytomierz, ca 1853. No plate number.

Two posthumous editions edited by Julian Fontana, July 1855.
FEF—French edition by Fontana, J. Meissonnier fils, Paris, J. M. 3529,

GEF—German edition by Fontana, Ad. Mt. Schlesinger, Berlin, S.4398.

A number of elements on the above presented scheme is hypothetical:

it is not certain whether Chopin was introducing changes into [AI] after JC had been prepared; the clues indicating such a possibility are described in the characteristics of FEF;
the existence of Fontana's copy, which is the base text for EF, is undeniable – Fontana certainly did not have at his disposal such detailed directions, so they could serve as a base text for edition. After all, after many years (16 XI 1862) he wrote about copying the pieces edited by him in a letter to the company Gebethner and Wolff: "It cost me a few years to collect, order, and complete the torn pieces, unfathomable for anyone else, as well as to rewrite the manuscripts, which had already been chosen and cleared." The copy, in which the text of the Polonaise was subject to a detailed edition, was marked here with the symbol [FC]. However, it is also possible – as suggested by the above mentioned quote – that preparing the base text for the edition could be related to making more than one copy; none of them have been preserved;
moreover, the mutual relations between both versions of EF cannot be considered as entirely certain – cf. the characteristics of FEF. The [FEF0] symbol determines the indefinite form of FEF on the base of which GEF was created and after introducing last revisions – also finished FEF.