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Issues : Annotations in FEFo

b. 315-316

composition: Op. 11, Concerto in E minor, Mvt I

Fingering written into FED, bar 315

Fingering written into FEFo, bar 315-316

Fingering written into FEH

No fingering in FE (→GE)

Fontana's fingering in EE
..

All indications denote almost certainly the same fingering. In the main text, we give the two ones written in FEFo, crucial in this context.

category imprint: Differences between sources

issues: Annotations in teaching copies , EE revisions , Annotations in FED , Annotations in FEH , Annotations in FEFo

b. 317

composition: Op. 11, Concerto in E minor, Mvt I

Fingering written into FED

Fingering written into FEFo

Fingering written into FEH

No fingering in FE (→GE)

Fontana's fingering in EE
..

The 1st finger written in FED determines a different hand position than the fingering in FEFo (and also FEH and EE). The authenticity of both fingerings seems probable, however, to the main text we choose the latter which adheres to the pattern indicated in the preceding bars. Such a consistency supports additionally the authenticity of this fingering, all the more since we cannot completely exclude a possible mistake in FED.

category imprint: Differences between sources

issues: Annotations in teaching copies , EE revisions , Annotations in FED , Differences in fingering , Annotations in FEH , Annotations in FEFo

b. 321

composition: Op. 11, Concerto in E minor, Mvt I

Fingering written into FEFo

No teaching fingering
..

In the main text, we include the fingering digits of FEFo, probably coming from Chopin. They define the fingering scheme for the R.H. for three subsequent bars.

category imprint: Differences between sources

issues: Annotations in teaching copies , Annotations in FEFo

b. 416

composition: Op. 11, Concerto in E minor, Mvt I

Fingering written into FEFo

Fingering written into FEH

No fingering in FE (→GE)

Fontana's fingering in EE
..

The authenticity of the very entry in FEH is unconfirmed, but the indicated fingering is almost certainly Chopinesque. It is evidenced by the entry in FED in an analogous situation in bar 418, and the same fingering of the 2nd and 3rd beat written into FEFo. The fingering 321 for the repeated notes was also inscribed by Chopin in Waltz in E​​​​​​​ op. 18 (the initial motif and bar 21). The fingering of the four-note groups of semiquavers is compliant with the distinction of the inner voice indicated by Chopin in each of them. In the editors opinion, it is articulation and actually fingering that were an important, if not the most important, reason to apply this notation, which is indicated by the probably original form of these figures preserved, e.g. in bar 419.  

category imprint: Differences between sources

issues: Annotations in teaching copies , EE revisions , Annotations in FEH , Annotations in FEFo

b. 416-417

composition: Op. 11, Concerto in E minor, Mvt I

Fingering written into FEFo

Fingering written into FEH

No fingering in FE (→GE)

Fontana's fingering in EE
..

All three sets of numerals describe the same, undoubtedly Chopinesque fingering. Chopin indicated the intervals of an octave to be performed with fingers 1-5 and 5-1 in similar figures also in other pieces – cf. the Concerto in F minor, op. 21, 1st mov., bars 101-103 or the Polonaise-Fantaisie, op. 61, bars 88-89.

category imprint: Differences between sources

issues: Annotations in teaching copies , EE revisions , Annotations in FEH , Annotations in FEFo