Issues : Differences in fingering
b. 41-42
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composition: Op. 10 No 5, Etude in G♭ major
category imprint: Differences between sources; Corrections & alterations issues: Differences in fingering , Authentic corrections of FE |
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b. 61
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composition: Op. 29, Impromptu in A♭ major category imprint: Differences between sources issues: Differences in fingering |
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b. 64-66
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composition: Op. 29, Impromptu in A♭ major category imprint: Differences between sources issues: Annotations in teaching copies , Differences in fingering |
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b. 86
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composition: Op. 11, Concerto in E minor, Mvt II
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The fingering in FEH is written by a foreign hand, which does not exclude a possibility that it could come from Chopin. Therefore, we would be dealing with a quite uncommon situation of differing authentic fingerings of the same place. category imprint: Differences between sources issues: Annotations in teaching copies , Differences in fingering , Annotations in FES , Annotations in FEH |
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b. 91
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composition: Op. 11, Concerto in E minor, Mvt II
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It is difficult to assign the digits written in FES to a natural fingering. The most likely explanation is that Miss Stirling committed a mistake at the time of writing them in ink on the basis of the Chopinesque indications written in pencil. Taking into account the fingering in the 1st half of the bar, one could suggest two possibilities: the '3' was supposed to be written under the '5' and not after it or the '3' was written by mistake instead of a '4'. We suggest only the second possibility as an acceptable variant, since it is totally compatible with the fingering from the 1st half of the bar. In the main text, we include only the first of the digits written in FES – its authenticity does not raise any doubts; moreover, together with the previous digits, it clarifies the fingering on the 3rd beat of the bar. category imprint: Interpretations within context; Differences between sources issues: Annotations in teaching copies , Differences in fingering , Annotations in FES , Annotations in FEH |