Issues : Annotations in FED
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b. 5
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composition: Op. 22, Andante spianato
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In the main text we include the fingering digit, coming from Chopin, entered into FED. There are similar situations in the further course of Andante, in b. 17, 27, 29, 36 and 41. At the end of the bar in FED one can see a vague diagonal line: it could have been, e.g. a mark separating e2 from f category imprint: Graphic ambiguousness; Differences between sources |
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b. 5
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composition: Op. 28 No. 6, Prelude in B minor
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In the main text we give the fingering entered into FEJ, confirmed by a more sparing entry in FED. The addition in FES is also compliant with that fingering, although the d1-g1 notes can be performed by other fingers, e.g. 4-2. Actually, it was those digits that were initially written in FEJ in this place and changed to 2-1. category imprint: Differences between sources; Corrections & alterations; Source & stylistic information issues: Annotations in teaching copies , Annotations in FED , Annotations in FES , Annotations in FEJ |
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b. 6
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composition: Op. 27 No 1, Nocturne in C# minor
category imprint: Differences between sources |
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b. 6-7
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composition: Op. 10 No 12, Etude in C minor
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In the main text we include the fingering written by Chopin in FED. Fontana suggested identical fingering in EE. category imprint: Differences between sources issues: Annotations in teaching copies , EE revisions , Annotations in FED |
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b. 6
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composition: Op. 10 No 3, Etude in E major
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In the main text we include the fingering written by Chopin in FED. The abundant fingering of Fontana in EE includes, among others, an identical indication of double use of the 4th finger. category imprint: Differences between sources issues: Annotations in teaching copies , EE revisions , Annotations in FED |
2, in accordance with the printed slurring, or an asemantic trace of gesticulation focusing the pupil's attention on the discussed interpretative problem.
