Issues : Differences in fingering
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b. 144
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composition: Op. 11, Concerto in E minor, Mvt III
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The fingering of FED represents a characteristic Chopinesque ploy, i.e. passing the 4th finger over the 5th – cf. e.g. the 1st mov. of the Concerto, bar 293 or the Etude in A Minor, Op. 10 No. 2, bars 20-22. It puts into question – although it does not exclude it entirely – the authenticity of the differing fingering of FEH and EE. category imprint: Differences between sources issues: Annotations in teaching copies , Annotations in FED , Differences in fingering , Annotations in FEH |
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b. 148-149
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composition: Op. 11, Concerto in E minor, Mvt III
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The fingerings of FEH and EE differ in the initial part of the figuration – in the former the hand immediately adjusts to the ascending part of the passage (the 3rd finger implicitly on b1), while the use of the 1st finger on a1 prepares a slightly more convenient grip of the g category imprint: Differences between sources issues: Annotations in teaching copies , EE revisions , Differences in fingering , Annotations in FEH |
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b. 169
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composition: Op. 11, Concerto in E minor, Mvt I
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The interpretation of the fingering in FED is not easy, since the digits were written on top of each other a few times, which hampers their interpretation. Initially, 3 or 4 digits '2' were written in a delicate handwriting: category imprint: Graphic ambiguousness; Differences between sources issues: Annotations in teaching copies , Annotations in FED , Differences in fingering |
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b. 181-185
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composition: Op. 11, Concerto in E minor, Mvt I
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Fontana indicated the 4th finger on the 4th b semiquaver three times – in bars 181, 182 and 185. In the same place in bars 181 and 185, in FEH, the 3rd finger was marked (see also notes to bars 536-537 and 540). A possible authenticity of these divergent indications is uncertain. category imprint: Differences between sources issues: Annotations in teaching copies , EE revisions , Differences in fingering , Annotations in FEH |
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b. 182-183
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composition: Op. 11, Concerto in E minor, Mvt I
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Like the last digit in bar 141, the '2' written in FEH may be considered to be Chopinesque, hence we include it in the main text. It implies a different fingering than the one given by Fontana in EE. category imprint: Differences between sources issues: Annotations in teaching copies , EE revisions , Differences in fingering , Annotations in FEH |
1-e2 sixth.
. The later layer includes pairs of digits encompassed with little curved lines; some of them were probably changed, but it was most probably 3 groups of 32 that were eventually left. Such notation is generally used to mark changes of fingers; however, in this context, one should rather expect pairs of 23, like it was marked by Chopin in the Variations, op. 2, bars 59 and 61. Therefore, the notation could still be wrong, in spite of corrections. Another possibility is to play three times simultaneously with two fingers. A suggestion for such an exceptional expressive fingering may be recognised also in the Mazurka in A minor, op. 59, no. 1, bar 25.
