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Issues : Annotations in FEH

b. 39

composition: Op. 11, Concerto in E minor, Mvt III

Fingering written into FEH

No teaching fingering
..

category imprint: Differences between sources

issues: Annotations in teaching copies , Annotations in FEH

b. 42

composition: Op. 11, Concerto in E minor, Mvt II

..

In FE (→GE1), the top note of the 10th semiquaver is an a2 (with a ); a2 is then restored with a sharp at the beginning of the 4th beat in the bar. The unequivocal mistake of the engraver is confirmed by corrections in three out of four pupils' copies – FES, FEJ and FEH. Respective revisions were introduced also in EE and subsequent GE – in GE2, the erroneous  was changed to a , whereas in EE and GE3, both marks were removed.

category imprint: Interpretations within context; Differences between sources

issues: Annotations in teaching copies , EE revisions , Errors in FE , GE revisions , Annotations in FES , Annotations in FEJ , Errors repeated in GE , Annotations in FEH

b. 43

composition: Op. 11, Concerto in E minor, Mvt II

c2 in FE (→GE,EE)

c2 in FEH, contextual interpretation
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None of the first editions includes a  raising c2 to c2 in the 4th third or a  restoring c2 on the last quaver in the 2nd triplet. It is most likely another – cf. bar 39 and 41 – oversight of Chopin, although definitely more serious and more difficult to explain. The phrase (bars 43-46) develops the two preceding ones (two-bar ones); there is no reason for the melodic shape of the discussed place, clearly referring to the beginnings of bars 39 and 41, presenting the same idea, to differ from them. This statement is confirmed by analogous phrases in bars 88, 90 and 92. A similar oversight of an alteration of a note and its later cancellation happened to Chopin in the Etude in F minor, op. 25, no. 2, bar 56. In FEH, a  before the 4th third was added probably by Chopin himself or under his suggestion. Taking into consideration the above arguments, we introduce this correction to the main text.

category imprint: Differences between sources

issues: Annotations in teaching copies , Annotations in FEH

b. 46

composition: Op. 11, Concerto in E minor, Mvt II

No fingering in FE (→GE)

Fingering in EE

Fingering written into FEH
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Fontana's fingering added in EE is the most natural continuation of the Chopinesque entry written in FES – see the previous note. An identical fingering is written in FEH, perhaps based on a Chopinesque remark.

category imprint: Differences between sources

issues: Annotations in teaching copies , EE revisions , Annotations in FEH

b. 47-48

composition: Op. 11, Concerto in E minor, Mvt II

Fingering written into FES

Fingering written into FEH

No teaching fingering
..

category imprint: Differences between sources

issues: Annotations in teaching copies , Annotations in FES , Annotations in FEH