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b. 179-193
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composition: Op. 11, Concerto in E minor, Mvt I
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In FE, all category imprint: Source & stylistic information issues: Inaccuracies in FE , GE revisions |
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b. 179-184
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composition: Op. 11, Concerto in E minor, Mvt I
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Both Fontana in EE and the reviser in GE3 suggest in bar 179 the same fingering that was written in FED during a lesson with Chopin. The indications in FEH (in bars 179-180 and 184), much more detailed, also describe the same fingering (in bar 179, the digit applying to the a quaver is almost certainly erroneous – it should be a '3' as in the analogous bar 534, and not a '2'). category imprint: Differences between sources issues: Annotations in teaching copies , EE revisions , Annotations in FED , GE revisions , Annotations in FEH |
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b. 179-180
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composition: Op. 11, Concerto in E minor, Mvt I
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The natural fingering indicated by Fontana probably corresponds to Chopin's intention; however, it does not prove that Fontana based his indication on an authentic source. The entry in FEH most probably marks the same fingering. category imprint: Differences between sources issues: Annotations in teaching copies , EE revisions , Annotations in FEH |
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b. 179-180
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composition: Op. 11, Concerto in E minor, Mvt I
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The slurs of FE (→EE,GE1→GE2) are most probably inaccurate in these bars, as well as in bars 546-547, which is supported by the comparison of the slurs in all 30 similarly structured bars (bars 179-193 and 534-548). All the remaining slurs encompass only 4 semiquavers. Due to this reason, in the main text we suggest slurs compliant with the majority of similar figures. An identical unification was introduced in GE3. category imprint: Interpretations within context; Differences between sources; Editorial revisions issues: GE revisions |
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b. 179-194
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composition: Op. 11, Concerto in E minor, Mvt I category imprint: |
marks are placed before the bass note, to which they undoubtedly apply. As a result of this, in numerous places, these marks fall under the last semiquavers of the previous bars. This inaccurate notation, resulting from lack of space, could have been present already in the autograph, since we repeatedly encounter examples of such notations in Chopin's autographs. The notation was repeated in the vast majority of the bars in 
