b. 478
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composition: Op. 11, Concerto in E minor, Mvt I
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Fontana's fingering added at the beginning of the bar must be inauthentic, since it does not match the Chopinesque indication at the end of the bar – Fontana must have changed the authentic '4' to a '5'. category imprint: Differences between sources issues: EE revisions |
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b. 479-480
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composition: Op. 11, Concerto in E minor, Mvt I
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The missing mark may have resulted from Chopin's inadvertence; however, it is also possible that the composer left the task of finding the right moment to release pedal to the discretion of the performer. According to us, pedal is to be held at least until the beginning of bar 479 and rather not longer than until the beginning of bar 480, which is suggested by two marks [], proposed in the main text. category imprint: Editorial revisions issues: No pedal release mark |
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b. 479-485
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composition: Op. 11, Concerto in E minor, Mvt I
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In the 2nd half of each of bars 479-484 and in bar 485 in GE, a cautionary sharp was added before the f note (in various octaves). Except for bar 481, we include those marks also in the main text. Sharps in bars 480 and 485 were added also in EE2 (→EE3). category imprint: Differences between sources; Editorial revisions issues: GE revisions |
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b. 482
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composition: Op. 11, Concerto in E minor, Mvt I
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Fontana filled the gap in the Chopinesque fingering by copying a model that had been unambiguously indicated by the composer already in bar 479. category imprint: Differences between sources issues: EE revisions |
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b. 482-484
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composition: Op. 11, Concerto in E minor, Mvt I
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Wherever Chopin gave fingering for the R.H., Fontana recalled the Chopinesque fingering also in the L.H. part. category imprint: Differences between sources issues: EE revisions |