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b. 418-419
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composition: Op. 11, Concerto in E minor, Mvt I
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The fingering entered by Chopin in FED, in spite of the fact that it applies to the first two semiquavers only, determines the position of fingers in the next figures and, consequently, also in the further part of the phrase. Therefore, this entry most probably indicates the same fingering that Fontana gave in EE and that was written in FEH (probably on the basis of a lesson with Chopin). As the fingering of the basic figures of this fragment was defined already in bar 416, in this case in the main text we include only the entry in FED. category imprint: Differences between sources issues: Annotations in teaching copies , EE revisions , Annotations in FED , Annotations in FEH |
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b. 418-420
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composition: Op. 11, Concerto in E minor, Mvt I
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In bars 418-419 and 420, Fontana recalls the fingering scheme of a characteristic figure in the L.H., marked in EE already in the previous phrase. category imprint: Differences between sources issues: EE revisions |
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b. 418
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composition: Op. 31, Scherzo in B♭ minor
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In the main text we add a cautionary category imprint: Differences between sources; Editorial revisions issues: EE revisions , GE revisions |
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b. 419-420
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composition: Op. 21, Concerto in F minor, Mvt III
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The division of the clear slur of A into 3 parts is an example of a far-reaching carelessness showed towards the Chopinesque slurring in GE1. In turn, it is unclear whether the combination of the first two of these slurs in FE (→EE) is a result of a mere inaccuracy or of a conscious decision of the engraver. GE2 includes the same slurs, which was undoubtedly done on purpose in this case – the slurring was introduced in all analogous places. category imprint: Differences between sources issues: Inaccuracies in FE , Errors in GE , GE revisions |
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b. 419-423
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composition: Op. 11, Concerto in E minor, Mvt I
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The notation of the sources, in which it is only the 2nd semiquaver of the four-note figure that was separated and prolonged, appears in such a context a few times – the 2nd figure in bars 419 and 421, the 2nd and 3rd figures in bar 423 and both figures in bars 442-443. In terms of rhythmic values, this notation generally does not differ from the notation used in the remaining figures; however, it shows the middle voice in a less precise manner. Therefore, it is difficult to assume that Chopin could have intentionally preserved both notations – according to us, this notation is the original version, left by inadvertence, hence in the main text we give the more precise notation of the remaining figures. Cf. similar figures in the Etude in C category imprint: Editorial revisions |
before d2. The mark was added already in 
minor, op. 10 no. 4, bars