Issues : Differences in fingering
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b. 98
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composition: Op. 11, Concerto in E minor, Mvt II
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In the main text, we give the undoubtedly authentic fingering of FED. The fingering of FEH is also probably authentic, especially since it combines with the fingering of FES and FEH written before and after in a more natural way. The compliance of the fingering of FEH with the fingering of EE added by Fontana is noteworthy. category imprint: Differences between sources issues: EE revisions , Annotations in FED , Differences in fingering , Annotations in FEH |
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b. 98
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composition: Op. 11, Concerto in E minor, Mvt II
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The authenticity of the entry in FEH seems to be highly likely in the light of compliance with the fingering of FES written by Chopin. Fontana's fingering in EE defines a different hand position, being a natural continuation of the fingering written over the two previous notes in FED. category imprint: Differences between sources issues: Annotations in teaching copies , EE revisions , Differences in fingering , Annotations in FES , Annotations in FEH |
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b. 105-107
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composition: Op. 11, Concerto in E minor, Mvt II
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The fingering of FES, given in the main text in bars 105 and 107, with slide of the 1st finger, willingly used by Chopin, was written by him in pencil and repeated ("enhanced") by Miss Stirling in ink. In this light, the differing fingering of FEH seems to be much less typical of Chopin. In EE, Fontana offers two fingering variants, the first of which overlaps with the Chopinesque fingering (FES). category imprint: Differences between sources issues: Annotations in teaching copies , EE revisions , Differences in fingering , Annotations in FES , Annotations in FEH |
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b. 106-108
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composition: Op. 11, Concerto in E minor, Mvt II
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In the first halves of bar 106 and 108, FES contains a fingering written in pencil, generally very blurry (erased?), which poses significant problems not only in recognising the digits, but also even in stating whether they were written in a given place at all. In the places where the digits are distinct enough to state it, one can recognise Chopin's hand. In the main text, we give the digits we were able to decipher on the basis of the available sources to a satisfactory degree of probability. It is noteworthy that the only completely distinct digit, the 3rd finger on e1, the 4th semiquaver in bar 106, generally clearly defines already the entire fingering. The fingering in FEH indicates a different hand position, while the use of the cross-over of the 5th finger seems to be less typical of Chopin in this context. Fontana's fingering in EE is still different, although much closer to the one in FEH. The authenticity of both fingerings is dubious. category imprint: Differences between sources issues: Annotations in teaching copies , EE revisions , Differences in fingering , Annotations in FES , Annotations in FEH |
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b. 106-108
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composition: Op. 11, Concerto in E minor, Mvt II
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Like in the 1st half of bar 106 and 108, the fingering in FES, most probably Chopinesque, is very difficult to decipher. According to the General Editorial Principles, p. 17, in the main text we give the digits, complementing each other, written in both bars already in the first (bar 106). The differing fingering of FEH may be considered an authentic alternative. Fontana's fingering in EE is fully compliant with the entry in FES and essentially also with FED. category imprint: Differences between sources; Editorial revisions issues: Annotations in teaching copies , EE revisions , Differences in fingering , Annotations in FES , Annotations in FEH |
