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Issues : Annotations in FEH
b. 47
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composition: Op. 11, Concerto in E minor, Mvt II
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In the main text, we add a cautionary category imprint: Differences between sources issues: Annotations in teaching copies , EE revisions , GE revisions , Cautionary accidentals , Annotations in FEH |
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b. 49
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composition: Op. 11, Concerto in E minor, Mvt II
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In FEH, the ending of this bar was provided with two diagonal crosses, with which Chopin would often mark places discussed during lessons, most probably problematic. Moreover, there is an ambiguous entry between a category imprint: Graphic ambiguousness; Differences between sources issues: Annotations in teaching copies , Authentic post-publication changes and variants , Annotations in FEH |
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b. 50
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composition: Op. 11, Concerto in E minor, Mvt II
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The compliance between the fingering in FES and FEH contributes to the authenticity of the entry in the latter. Therefore, it allows for considering the fingering added in the next bar, continuing the discussed entry, to be authentic. category imprint: Differences between sources issues: Annotations in teaching copies , Annotations in FES , Annotations in FEH |
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b. 50
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composition: Op. 11, Concerto in E minor, Mvt II
category imprint: Differences between sources |
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b. 51
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composition: Op. 11, Concerto in E minor, Mvt II
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The fingering in FEH most probably clarifies the fingering signalled already in the previous bar, hence it already concerns its 2nd half. We suggest it in the main text, since its authenticity in the previous case is confirmed by FES. According to p. 17 of the General Editorial Principles, the fingering should be given exactly there, i.e. in the 2nd half of bar 50, which we, however, do not perform due to the varied slurring, whose details are uncertain, which may suggest a performing difference between the discussed place and the 2nd half of bar 50. category imprint: Differences between sources |