mUltimate Chopin

Text Compare Notes Sources Description

Issues : Differences in fingering

b. 9-10

composition: Op. 28 No. 6, Prelude in B minor

Fingering written into FEJ

Fingering written into FES

No fingering in A (→FE,FC→GE) & CGS

Fingering in EE

Our variant suggestion based on FEJ & FES
..

It is difficult to decipher the fingering of FES. In b. 9 under the d1 crotchet, there are two digits, one above the other, while the bottom one, '1', seems to be crossed out. Therefore, one could assume that the 'one', written first, was crossed out and replaced with a 'two'. However, according to us, such an interpretation is wrong – had the 'one' been written first, it would have been placed higher, closer to the note. Consequently, the apparent crossing-out is most probably a curved line indicating the change of fingers, as was the case with b. 1. In b. 10 the 1st digit could be interpreted as a '4', which, however, would be completely unjustified – cf. the fingering in the same source in analog. b. 2. A more accurate analysis of the entry reveals that it is most probably an awkwardly written '3', which results in a full compliance both with the entry in FEJ and the fingering in b. 2.

category imprint: Graphic ambiguousness; Differences between sources; Editorial revisions; Source & stylistic information

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

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
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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

b. 15

composition: Op. 28 No. 6, Prelude in B minor

Fingering written into FEJ

Fingering written into FES

No teaching fingering

Our variant suggestion based on FEJ & FES
..

In the main text we include the fingering of FES and FEJ, differing only in the way the 1st note of the phrase is attacked. Admittedly, FES marked the fingering only for the 1st note of the bar, yet the compliance of both versions of the fingering further on results from the entries in FES in analog. b. 19-20.

category imprint: Differences between sources; Editorial revisions

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

b. 15-16

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

Fingering written into FED

Fingering written into FES

No teaching fingering

Our variant suggestion
..

In the main text we combine the complementary or compliant fingering versions of FED and FES. Some of the entries of FED are not obvious – in the interpretation we adopted we include both the shape of the very marks and the pianistic naturalness of the fingering they describe. Wherever the fingering versions entered into both copies differ, we give both versions in a variant form (the last quaver in b. 15).

category imprint: Graphic ambiguousness; Differences between sources

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

b. 15

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

Fingering written into FES

No teaching fingering
..

The 3rd finger on d2 indicated in FES can be seamlessly combined with the fingering in the further part of this bar, in which the entries of FED and FES are highly compliant – see the next note. However, the fingering written in the previous bar in FED indicates that it is the 2nd finger that should be used on that note, which is even clearer in b. 16-17. However, since the 2nd finger was not explicitly indicated and since the 3rd finger can also be easily combined with the previous fingering, we include it in the main text.
NB: There is a small, diagonal line over the discussed note in FED; it resembles a 1. As was the case with b. 4, one can have doubts whether it is actually a fingering digit, since if we assume the default legato articulation, the 1st finger (contrary to the entry in FES) would hamper natural phrasing here.

category imprint: Graphic ambiguousness; Differences between sources

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