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b. 216
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composition: Op. 11, Concerto in E minor, Mvt I
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The fingering digits present in EE and FEH and those written in FED and FEFo undoubtedly denote the same fingering. In the main text, we give the indications whose authenticity is most likely (FEFo and FED). category imprint: Differences between sources issues: Annotations in teaching copies , EE revisions , Annotations in FED , Annotations in FEH , Annotations in FEFo |
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b. 216
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composition: Op. 11, Concerto in E minor, Mvt I
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In EE, indicating a fingering digit only on the last note of the bar suggests that it is the previous scheme that applies to the previous ones, which results in the 3rd finger on f category imprint: Differences between sources issues: Annotations in teaching copies , EE revisions , Annotations in FED |
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b. 216
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composition: Op. 16, Rondo in E♭ major
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We add a cautionary category imprint: Editorial revisions |
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b. 216
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composition: Op. 22, Polonaise
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Just like in b. 72, in the main text we suggest adding a category imprint: Differences between sources; Editorial revisions issues: EE revisions , GE revisions |
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b. 216-218
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composition: Op. 44, Polonaise in F♯ minor
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In the main text we add staccato dots to the L.H. crotchets, in accordance with the markings of GE in the preceding bars, and in the case of the 1st crotchet in b. 218 also in accordance with b. 139. The markings could have been overlooked by accident, since these bars open a new line in GE, which is conducive to such inaccuracies. category imprint: Editorial revisions |
2. In spite of the apparent concurrence, Fontana's fingering does not have to be fully compliant with the fingering of 
before d2 in the main text.
in 
