|
b. 169-170
|
composition: Op. 21, Concerto in F minor, Mvt I
..
FE overlooked the staccato dot at the beginning of bar 169. EE also omitted the one in bar 170 – another oversight or a uniformising revision. category imprint: Differences between sources issues: Errors in FE , Errors in EE |
||||||||
|
b. 169
|
composition: Op. 11, Concerto in E minor, Mvt I
..
The interpretation of the fingering in FED is not easy, since the digits were written on top of each other a few times, which hampers their interpretation. Initially, 3 or 4 digits '2' were written in a delicate handwriting: category imprint: Graphic ambiguousness; Differences between sources issues: Annotations in teaching copies , Annotations in FED , Differences in fingering |
||||||||
|
b. 169
|
composition: Op. 16, Rondo in E♭ major
..
We give the Chopinesque fingering written in pencil to FEJ. category imprint: Differences between sources |
||||||||
|
b. 169
|
composition: Op. 16, Rondo in E♭ major
..
We add cautionary naturals before d2 and d in the main text. category imprint: Editorial revisions |
||||||||
|
b. 169
|
composition: Op. 22, Polonaise
..
The category imprint: Differences between sources issues: Errors in GE , GE revisions |
. The later layer includes pairs of digits encompassed with little curved lines; some of them were probably changed, but it was most probably 3 groups of 32 that were eventually left. Such notation is generally used to mark changes of fingers; however, in this context, one should rather expect pairs of 23, like it was marked by Chopin in the Variations, op. 2, bars 59 and 61. Therefore, the notation could still be wrong, in spite of corrections. Another possibility is to play three times simultaneously with two fingers. A suggestion for such an exceptional expressive fingering may be recognised also in the Mazurka in A minor, op. 59, no. 1, bar 25.
on 2nd beat in 