b. 567
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composition: Op. 11, Concerto in E minor, Mvt I
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The entry of FEH defines a different arrangement of fingers with repetitions of the initial figure than the one indicated by Chopin at the beginning of the bar. In accordance with what was said in the previous note, this arrangement seems to be more natural. In EE, Fontana gives only the fingering of the ending of the bar. category imprint: Differences between sources issues: Annotations in teaching copies , EE revisions , Annotations in FEH |
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b. 567
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composition: Op. 11, Concerto in E minor, Mvt I
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According to us, the first of the Chopinesque fingering digits given in FE (→GE,EE) may be erroneous. In such passages, different sounds are generally played with different fingers, which together create a specific arrangement for a given passage, repeated in the next octaves (cf. bar 569). Therefore, it is generally enough to give fingering of the first figure as Chopin did, e.g. in the Etude in C Major, Op. 10 No. 1. Performing both g and a with the 3rd finger breaches this rule and impedes performance, not offering anything in exchange. However, if we perform g with the 2nd finger, which was just on the adjacent black key (f), the 3rd finger may remain on a, which it played in the previous bar. Therefore, taking into account a possibility of a mistake, we give an alternative suggestion with the use of the 2nd finger. category imprint: Interpretations within context; Editorial revisions issues: Errors in FE |
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b. 567-568
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composition: Op. 11, Concerto in E minor, Mvt I
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The missing slur over bar 568 must be considered an inaccuracy. The slur added in EE and GE3 is a revision that is easiest to implement in print. In the main text, we suggest a two-bar-long slur modelled after the authentic slur in analogous bars 216-217. category imprint: Differences between sources; Editorial revisions issues: EE revisions , GE revisions |
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b. 567
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composition: Op. 11, Concerto in E minor, Mvt I
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The shift of the mark most probably resulted from lack of space in [A] under the stem of the minim in the L.H. In GE, the mark was placed in accordance with the pianistic sense, i.e. at the beginning of the bar. category imprint: Interpretations within context; Differences between sources issues: Inaccuracies in FE , GE revisions |
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b. 568-572
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composition: Op. 11, Concerto in E minor, Mvt I
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In the main text, we omit the unjustified sharps before f2 and f in bar 568, the F1-F octave in bar 570, F in bar 571 and f in bar 572. The accidentals were omitted also in GE3. category imprint: Differences between sources; Editorial revisions issues: GE revisions , Cautionary accidentals , Last key signature sign |