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Issues : Annotations in FES

b. 111-113

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

Fingering written into FEH

Fingering written into FES, bar 113

Fingering based on FES, bar 111

No fingering in FE (→GE)

Fingering in EE
..

It is difficult to evaluate the authenticity of the fingering of FEH in bars 111 and 113 – the digits are very similar to the Chopinesque ones, but the fingering differs from the one written by Chopin (in pencil, under Miss Stirling's entry written in ink) in FES. From the pianistic point of view, both fingerings are natural and convenient – in the fingering of FES, the next note, b1, is most probably to be performed with the 5th finger; it may be easier for a smaller hand. The digits added by Fontana in EE define the same fingering that was written in FEH.
In the main text, we give the fingering written in FES the first time the passage appears, i.e. in bar 111 – cf. the General Editorial Principles, p. 17.

category imprint: Differences between sources; Editorial revisions

issues: Annotations in teaching copies , EE revisions , Differences in fingering , Annotations in FES , Annotations in FEH

b. 111

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

Fingering written into FES

No teaching fingering
..

category imprint: Differences between sources

issues: Annotations in teaching copies , Annotations in FES

b. 112

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

a2 in FE (→EE,GE1→GE2)

g2 in FES & GE3
..

Except for a2 at the end of the 2nd triplet, the passages in bars 111-113 are built exclusively from the chordal sounds. It suggests a possible mistake of FE (→EE,GE1→GE2), confirmed by a correction in FES. A change of a2 to g2 was introduced also in GE3.

category imprint: Interpretations within context; Differences between sources

issues: Annotations in teaching copies , Errors in FE , GE revisions , Annotations in FES

b. 112

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

Fingering written into FES

Fingering written into FEH

No teaching fingering
..

The fingering of FES and much more detailed indications in FEH overlap and complement themselves, so that they most probably indicate the same fingering. In the main text, we give the more sparing indications of FES. In the fingering of FEH, it is the difference with respect to the analogous passage in bar 111 that draws our attention – a different fingering of the 2nd semiquaver in the passage is adjusted to a different articulation of the 1st note, staccato in bar 111, legato in bar 112.

category imprint: Differences between sources

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

b. 112

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

Fingering written into FES

Fingering written into FEH

No teaching fingering
..

The digit, marking the hand position, written in FES most probably defines the same fingering that was described in FEH in more detail.

category imprint: Differences between sources

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