Fingering
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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. 17
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composition: Op. 22, Andante spianato
category imprint: Differences between sources |
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b. 27
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composition: Op. 22, Andante spianato
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The second of the Chopinesque fingering digits in FED is written between the 4th and 5th semiquavers, which results in two possibilities of interpretation. According to us, the use of the 2nd finger on the topmost note of this figure is more likely, which is confirmed by the authentic fingering of the Prelude in G Major, Op. 28 No. 3, b. 1 and the Etude in C Minor, Op. 10 No. 12, b. 9-10. Due to the above reason, in the main text we give that interpretation. category imprint: Graphic ambiguousness; Differences between sources |
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b. 29
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composition: Op. 22, Andante spianato
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We interpret the unclear mark written in pencil under the 3rd semiquaver as a twice written fingering digit, 1. category imprint: Graphic ambiguousness; Differences between sources |
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b. 36
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composition: Op. 22, Andante spianato
category imprint: Differences between sources |
2, in accordance with the printed slurring, or an asemantic trace of gesticulation focusing the pupil's attention on the discussed interpretative problem.
