Issues : Annotations in FEH
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b. 113
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composition: Op. 11, Concerto in E minor, Mvt II
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The fingering added in EE by Fontana is adjusted to the probably erroneous version of the 6th semiquaver of the bar (although its application in the version adopted in the main text is naturally possible). This fact most probably proves that it is totally arbitrary. The fingering of both sources, compliant in the ascending part of the passage, suggests changing the hand position marked by the placement of the 1st finger, which was on the a1 note in the previous passage. However, the Chopinesque fingering added to FES in the 2nd half of the bar, where the 1st finger is also on a1, suggests that Chopin meant to preserve this position also in the discussed passage, filling the 1st half of the bar. category imprint: Differences between sources issues: Annotations in teaching copies , EE revisions , Differences in fingering , Annotations in FEH |
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b. 116
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composition: Op. 11, Concerto in E minor, Mvt II
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In the main text, we suggest a compilation of complementary Chopin's entries performed in pencil in FED and FES. J. Stirling probably wanted to enhance with ink the second out of four ones written in her copy, over the g category imprint: Interpretations within context; Differences between sources issues: Annotations in teaching copies , Annotations in FED , Annotations in FES , Annotations in FEH |
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b. 117
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composition: Op. 11, Concerto in E minor, Mvt II
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The fingering in FEH raises doubts concerning the interpretation of the first digit applying to e3. It seems that it is a '1,' but it would be inconsistent with the fingering of an identical place in bars 120-121 written in this copy – the 1st finger on the last g category imprint: Graphic ambiguousness; Differences between sources issues: Annotations in teaching copies , Differences in fingering , Annotations in FEH |
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b. 118
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composition: Op. 11, Concerto in E minor, Mvt II
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The use of the 1st finger on the only white key of this passage is the most natural fingering of this figuration, hence it having been originated by Chopin is difficult to prove in EE and FEH. category imprint: Differences between sources issues: Annotations in teaching copies , EE revisions , Annotations in FEH |
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b. 120
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composition: Op. 11, Concerto in E minor, Mvt II
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In FES, Chopin again entered here a fingering given earlier in analogous bar 116. In FEH, the same fingering is marked, although the digits are written next to another set of notes. In accordance with the General Editorial Principles, p. 17, we do not include these indications in the main text. category imprint: Differences between sources issues: Annotations in teaching copies , Annotations in FES , Annotations in FEH |
1 note ending the 3rd beat of the bar, which would indicate the fingering scheme of the entire 2nd half of the bar. However, she committed a mistake and wrote it a semiquaver too far, over the first e2 in the 7th triplet (cf. notes in bar 91 and 
