Issues : Annotations in FEH
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b. 23
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composition: Op. 11, Concerto in E minor, Mvt II
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In FE, the part of the L.H. is misaligned with the R.H. in the 2nd half of the bar – the last quaver, f category imprint: Differences between sources issues: Annotations in teaching copies , EE revisions , Errors in FE , GE revisions , Synchronization markings , Annotations in FEH |
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b. 24
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composition: Op. 11, Concerto in E minor, Mvt III
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The fingerings entered into FED in this bar and in analogous bar 32 are generally consistent with the fingering entered into those bars in FEH – the only difference concerns c category imprint: Differences between sources; Editorial revisions issues: Annotations in teaching copies , Annotations in FED , Differences in fingering , Annotations in FEH |
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b. 26
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composition: Op. 11, Concerto in E minor, Mvt II
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The convergence with the fingering of FED provides, according to us, a sufficient guarantee for the authenticity of the entry of FEH, hence we include it in the main text. category imprint: Differences between sources issues: Annotations in teaching copies , Annotations in FED , Annotations in FEH |
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b. 29
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composition: Op. 11, Concerto in E minor, Mvt II
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The variant included in FEH bears the hallmarks of authenticity. Leading the melody inside more extensive chords, often within the span of a ninth between the outermost sounds, belongs to Chopin's characteristic compositional and pianistic means (cf. e.g. the Ballade in G minor, op. 23, bar 114 and 174, the Prelude in F category imprint: Differences between sources |
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b. 31-32
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composition: Op. 11, Concerto in E minor, Mvt III
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It is more difficult to decipher the fingering of FEH here, since it was probably corrected. However, it was the fingering written in bars 23-24 that was most probably repeated here, except two overlooked digits. category imprint: Differences between sources |
, falls already under the dotted quaver c
minor, op. 35, the 3rd mov., 
