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b. 416-417
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composition: Op. 11, Concerto in E minor, Mvt I
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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 |
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b. 416
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composition: Op. 11, Concerto in E minor, Mvt I
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In bar 416, opening a new line, FE overlooked the ending of the slur and, most probably, a wedge in the L.H. part. In EE, both marks were added, whereas in GE1 (GE2), only the wedge (the slur was corrected in GE3, in which there is a different division into lines and pages). category imprint: Differences between sources; Editorial revisions issues: EE revisions , Errors in FE , GE revisions |
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b. 416-422
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composition: Op. 11, Concerto in E minor, Mvt I
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As in bars 408-409 and analog., GE3 arbitrarily added staccato dots to the first two repeated semiquavers in bars 416, 418, 420 and 422. category imprint: Differences between sources issues: GE revisions |
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b. 416-423
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composition: Op. 11, Concerto in E minor, Mvt I
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In FE, there are no sharps before the second semiquaver, placed an octave lower than the first one, of the majority of the figures in the L.H. – marks are necessary in 10 out of 15 figures, whereas an appropriate category imprint: Interpretations within context; Differences between sources issues: EE revisions , Errors in FE , Accidentals in different octaves , GE revisions |
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b. 416
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composition: Op. 11, Concerto in E minor, Mvt I
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We add a cautionary category imprint: Editorial revisions |
is present only before c
1 in bar 418. All the remaining marks were added both in