Issues : EE revisions
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b. 142-145
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composition: Op. 11, Concerto in E minor, Mvt I
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The essential difference between the fingering of FEH and EE consists in the performance manner of the descending third in each group of semiquavers – in FEH, the fingers 2-3 were used, in EE – 2-4. It is difficult to say if and which of them corresponds to the fingering conceived by Chopin, since the authenticity of the fingering in these sources has not been confirmed. category imprint: Differences between sources issues: Annotations in teaching copies , EE revisions , Differences in fingering , Annotations in FEH |
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b. 145-146
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composition: Op. 11, Concerto in E minor, Mvt I
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In the main text, we give the interpretation of the curved line of FE (→GE1→GE2) adopted in EE and GE3. The Chopinesque manner of writing ties as short curved lines reaching the prolonging note would frequently result in their erroneous interpretation. However, other possibilities cannot be excluded – the curved line in the autograph could have been led over the top voice, since moving slurs to the side of note heads was a routine procedure, frequently applied by engravers. category imprint: Interpretations within context; Differences between sources issues: EE revisions , Inaccuracies in FE , GE revisions |
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b. 149
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composition: Op. 11, Concerto in E minor, Mvt I
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In FE (→GE1), the last 8 notes are written as 2 groups of semiquavers. The division into groups suggests that Chopin meant a strict and regular division, so the notes should be demisemiquavers. A respective change was introduced in EE and GE2 (→GE3). Additional beams were added also in FEJ, although it is impossible to confirm the authenticity of such a non-characteristic entry. category imprint: Interpretations within context; Differences between sources issues: Annotations in teaching copies , EE revisions , Errors in FE , GE revisions , Rhythmic errors , Annotations in FEJ , Errors repeated in GE |
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b. 149
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composition: Op. 11, Concerto in E minor, Mvt I
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Fontana's fingering, natural in this context, is probably compliant with the one foreseen by Chopin – cf. a Chopinesque indication in a similar passage in bar 141. category imprint: Differences between sources issues: EE revisions |
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b. 149
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composition: Op. 11, Concerto in E minor, Mvt I
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In FE, there is no category imprint: Interpretations within context; Differences between sources issues: EE revisions , Accidentals in different octaves , Inaccuracies in FE , GE revisions , Omission of current key accidentals |
raising d1 to d
1, which must be considered an inaccuracy, since d