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Author Topic: Fantaisie Impromptu question/s  (Read 589 times)
aewanko
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« on: May 19, 2008, 02:45:45 AM »

Is it true that this piece had 2 versions?
Is it also true that most pianists play the first version?

im a bit confused right now Undecided
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currently learning:
Scriabin: Prelude for the left hand alone, op. 9 no. 1
Debussy: Suite bergamasque, no. 3 (DON'T KILL ME!)
Rachmaninoff: B minor prelude, op. 32 no. 10

piano sheet music of Fantaisie-Impromptu
bench warmer
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« Reply #1 on: May 23, 2008, 09:48:30 PM »

Do you have a  source for this?

If I have ever heard this hypothesis before it has long been forgotten.

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Petter
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« Reply #2 on: May 23, 2008, 10:16:57 PM »

Do you have a  source for this?

If I have ever heard this hypothesis before it has long been forgotten.



I f you D/L the piano street version it says "First version, copy for Marie Lichtenstein". Whatever that implies. Possibly that Chopin was a gold digger.
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faulty_damper
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« Reply #3 on: May 26, 2008, 02:53:11 AM »

The posthumously published edition of this impromptu was prepared by one of his students, Fontana.  It is quite different to the actual autograph.  Some notable differences are that it is simplified and more technically accessible (too easy, even for Chopin to write); inner voices are altered, notes are deleted, expressive markings altered, et al.  Any pianist who is well-familiarized with Chopin's musical and technical oeuvre will note that the Fontana edition is not what Chopin would have written - it doesn't feel genuine nor does it sound genuine.

Most pianist play the Fontana edition because it was the first and most widely available and it is easier to play.  Also, most pianists are unaware that they are using the Fontana edition as they are ignorant of any other edition.

Fontana edited most of Chopin's works that were published posthumously including his Op.69 Waltzes, which also differ from the autograph.  The B minor Waltz (of this same opus) adds an inner voice which adds to the texture and actually sounds better than the autograph.

The Autogrpah score was composed for Madame la Baronne d'Este.
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jordan christopher
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« Reply #4 on: August 02, 2008, 10:11:46 AM »

Guys did you know that chopin regretted in composong this piece???!!!!!!!  Huh ???actually before he died he told/asked his student to burn this piece but his student did not burn it...
Well, i dont know the reasons behind why chopin hated this impromptu (which really sounds beautiful) hahahaah......... anyway the inbetween notes are so hard to play...!!!!!!!!!!!
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tanman
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« Reply #5 on: August 02, 2008, 06:33:56 PM »

hey, once you guys are done with FI. you should really learn OC...

*runs and hides...
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pianisten1989
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« Reply #6 on: August 02, 2008, 07:09:33 PM »

Yes, there are two versions of this, but only slight differences. As someone already said: He hated this impromptu. I've even heard he stole the theme from someone else, and that's why he hated it. It wasn't even published until after his death.
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aewanko
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« Reply #7 on: August 03, 2008, 12:43:29 AM »

The posthumously published edition of this impromptu was prepared by one of his students, Fontana.  It is quite different to the actual autograph.  Some notable differences are that it is simplified and more technically accessible (too easy, even for Chopin to write); inner voices are altered, notes are deleted, expressive markings altered, et al.  Any pianist who is well-familiarized with Chopin's musical and technical oeuvre will note that the Fontana edition is not what Chopin would have written - it doesn't feel genuine nor does it sound genuine.

Most pianist play the Fontana edition because it was the first and most widely available and it is easier to play.  Also, most pianists are unaware that they are using the Fontana edition as they are ignorant of any other edition.

Fontana edited most of Chopin's works that were published posthumously including his Op.69 Waltzes, which also differ from the autograph.  The B minor Waltz (of this same opus) adds an inner voice which adds to the texture and actually sounds better than the autograph.

The Autogrpah score was composed for Madame la Baronne d'Este.

In other words, a commission?
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currently learning:
Scriabin: Prelude for the left hand alone, op. 9 no. 1
Debussy: Suite bergamasque, no. 3 (DON'T KILL ME!)
Rachmaninoff: B minor prelude, op. 32 no. 10
birba
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« Reply #8 on: August 03, 2008, 05:18:45 AM »

This all seems like much ado about nothing.  I dont think they would even be able to tell the difference.
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invictious
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« Reply #9 on: August 03, 2008, 06:49:39 AM »

This is the piece to learn after learning Fur Elise..

















*runs*


To be honest, I am actually learning this piece after returning to piano from a year's break....
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birba
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« Reply #10 on: August 03, 2008, 11:04:07 AM »

It doesnt seem like the right piece to take up after a year's absence!  Do something more amitious.  Even op 10, no. 3 would be better than that.  That's actually a lovely piece in its entirety.  I know you can't argue taste, but that is SO hackneyed Chopin.  It'd be enough to turn ME off to the piano. 
You know what?  Why don't you take up Mendelssohn's Rondo capriccioso?  Its popular, not that difficult, and fun to play.
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thierry13
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« Reply #11 on: August 04, 2008, 04:16:38 PM »

I've even heard he stole the theme from someone else, and that's why he hated it.

Well he didn't steal the actual theme, but one of the runs is exactly the same one that you find in moonlight sonata mvt 3, at the end. Not that it is the most important part of the theme, but still...
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quantum
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« Reply #12 on: August 04, 2008, 04:39:28 PM »

One might wonder the circumstances of the FI's composition.  Was Chopin randomly improvising during a time when he was studying the Moonlight?  Maybe he needed a "lick" in C# minor going downwards and this Beethoven thing was in his fingers. 
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arensky
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« Reply #13 on: August 04, 2008, 05:34:18 PM »

One might wonder the circumstances of the FI's composition.  Was Chopin randomly improvising during a time when he was studying the Moonlight?  Maybe he needed a "lick" in C# minor going downwards and this Beethoven thing was in his fingers. 

Here's another theory. A search for Moscheles will uncover more information on this topic. Seems that Freddy was absorbing things subconciously, but caught himself before publishing.

http://www.pianostreet.com/smf/index.php/topic,19481.msg211453.html#msg211453

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