|
b. 419-422
|
composition: Op. 11, Concerto in E minor, Mvt I
..
In FEH, the fingering of the endings of the phrases at the transition between bars 419 and 420 and 421 and 422 is natural; however, it is uncertain whether it was indicated by Chopin. The digit at the end of bar 419 was changed – '5' was transformed into a '4'. category imprint: Differences between sources |
||||||||
|
b. 419-421
|
composition: Op. 11, Concerto in E minor, Mvt I
..
In bars 419 and 412 Fontana consistently prescribes the 2nd finger for one of the top notes of the 3rd beat. Cf. bars 417-418. category imprint: Differences between sources issues: EE revisions |
||||||||
|
b. 419-420
|
composition: Op. 16, Rondo in E♭ major
category imprint: Editorial revisions |
||||||||
|
b. 419-420
|
composition: Op. 16, Rondo in E♭ major
..
In FE (→GE,EE), the slur ends on the last note of bar 419, together with the great stave. We consider it to be a mistake of the engraver caused by transition into a new line (just like in the case of the crescendo dashes), since breaking a slur in such a place is completely musically unjustified (continuation of the phrase), and we suggest one long slur until bar 424. category imprint: Differences between sources; Editorial revisions issues: Errors in FE |
||||||||
|
b. 419
|
composition: Op. 11, Concerto in E minor, Mvt III
..
The version of FE with a wedge present only in the L.H. cannot correspond to Chopin's intention, who was clearly striving for homogeneous articulation markings in both hands in this theme. It is likely that the wedge in the R.H. was overlooked, like it was assessed in GE and EE; however, a glance at the markings of both appearances of the theme (bars 171-205 and 415-449) makes us assume an erroneously added wedge in this place, since a staccato mark at the end of a slur never appears in those fragments. category imprint: Differences between sources; Editorial revisions issues: EE revisions , Errors in FE , Inaccuracies in FE , GE revisions |
2 in 
