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Issues : Annotations in FES

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b. 12

composition: Op. 28 No. 7, Prelude in A major

Chord with fingering in A (→FE,FC→GE)

Chord with fingering suggested by the editors

Chord without fingering in EE & CGS

Simplified chord in FES
..

The version entered – most probably by Chopin – into FES may be considered an acceptable variant, facilitating the performance (Chopin did not cross out the fingering, but it is clear that it does not apply to this version). In GE the R.H. chord was written in a complicated, obscure manner (reproduced only in the graphical transcription – version "transcription"), not resulting from the notation of A (→FC), i.e. the a1-c2 third was provided with a separate stem and placed before the other elements of the chord. In the main text we mark the Chopinesque fingering, indicating a simultaneous performance of the R.H. a1-c2 third with the 1st finger, in a manner compliant with the one that was adopted in the National Edition for two keys being pressed with one finger. Chopin used such a measure for a minor third on black keys on a few occasions – cf. the Concerto in E Minor, Op. 11, II mov., b. 16, Concerto in F Minor, Op. 21, II mov., b. 77 and most probably also the Scherzo in C Minor, Op. 39, b. 6-8 and 14-16.   

category imprint: Differences between sources; Editorial revisions

issues: Annotations in teaching copies , Inaccuracies in GE , Annotations in FES

b. 12-13

composition: Op. 28 No. 21, Prelude in B♭ major

Fingering written into FES

No teaching fingering
..

In the main text we include the fingering written by Chopin into FE.

category imprint: Differences between sources

issues: Annotations in teaching copies , Annotations in FES

b. 12

composition: Op. 28 No. 15, Prelude in D♭ major

c1 in A (literal reading→FE,FC→GE1)

c1 in EE, GE2 (→GE3), FED & FES
..

The version of A (→FE,FC→GE1), without a  before the 3rd quaver in the bar, almost certainly resulted from Chopin's mistake, which is confirmed by the flats he wrote in FED and FES. In FC there is also no  before the 7th quaver, most probably due to an oversight, since in A the accidental is poorly visible due to the crossing-out showing through the page. Admittedly, both flats are visible on the photo of FC; however, they were added there much later by H. Scholtz, which explains the absence of the former in GE1 (the latter was added thanks to the  in the R.H.). The fact that those flats were added later is evidenced by their font (they are clearly bigger than the ones written by Fontana) and by the intensity of blackening, pointing to a pencil.

category imprint: Interpretations within context; Differences between sources; Source & stylistic information

issues: Annotations in teaching copies , EE revisions , Annotations in FED , GE revisions , Omission of current key accidentals , Errors of A , Annotations in FES , Errors of FC , Errors repeated in FE

b. 13

composition: Op. 29, Impromptu in A♭ major

 
 
..

We give the fingering inscribed by Chopin into FES.

category imprint: Differences between sources

issues: Annotations in teaching copies , Annotations in FES

b. 13-14

composition: Op. 27 No 1, Nocturne in C# minor

No teaching fingering provided

Fingering in FEJ & FES

Fingering in FED

Both versions of teaching fingering
..

The teaching copies contain two undoubtedly different fingerings for this fragment. One is taken from #WfJ and #WfS, the other is a combination of Chopin's annotations in #WfD in this bar and in bar 16 when this figuration is repeated. In the main text we juxtapose these partly alternative fingerings. Cf. fingering in Sonata in B minor Op. 35, 3rd mvt., bar 31.

category imprint: Differences between sources

issues: Annotations in teaching copies , Differences in fingering , Annotations in FES , Annotations in FEJ