Fingering
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b. 41
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composition: Op. 10 No 8, Etude in F major
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Two fingering digits given in the main text come from FE (→GE,EE). Fontana repeated them in EE also at the beginning of the next group of 4 semiquavers. category imprint: Differences between sources issues: EE revisions , Authentic corrections of FE |
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b. 44-46
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composition: Op. 10 No 8, Etude in F major
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The fingering added by Chopin in a proofreading of FE (→GE) was slightly modified by Fontana in EE. Lack of indication of the 1st finger in the L.H. in bar 44 may also be a mistake. category imprint: Differences between sources issues: EE revisions , Authentic corrections of FE |
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b. 47
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composition: Op. 10 No 8, Etude in F major
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In this bar Chopin restarted the fingering indications in A, which he then completed while proofreading FE (→GE). Even more indications – added by Fontana – are to be found in EE. category imprint: Differences between sources issues: EE revisions , Authentic corrections of FE |
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b. 48
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composition: Op. 10 No 8, Etude in F major
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Out of three '1's Chopin wrote in A, only the first two were included in FE, which is probably a result of the engraver's oversight. In turn, two other digits added during a proofreading at the end of the bar certainly come from Chopin. Both in EE and in GE, the fingering adopted from FE was completed in the 3rd group of semiquavers. In the main text we suggest all certainly authentic digits included in A and FE. category imprint: Differences between sources issues: EE revisions , GE revisions , Authentic corrections of FE |
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b. 49-52
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composition: Op. 10 No 8, Etude in F major
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In the main text we give the fingering of FE (→GE), in which Chopin completed scarce indications of A. In EE Fontana added a number of further indications, which do not go beyond the positions resulting from Chopin's fingering. category imprint: Differences between sources issues: EE revisions , Authentic corrections of FE |
