Fingering
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b. 410
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composition: Op. 11, Concerto in E minor, Mvt I
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An identical fingering of EE and FEH almost certainly corresponds to the Chopinesque one – cf. the Etude in A minor, op. 25 no. 11, bar 9, which Chopin provided with a fingering that should be used also in the next, similarly structured passages, in particular in bars 11-12. However, taking into account the repeatability of the four-note figures of the passage, it seems to be highly unlikely that Chopin would have indicated the fingering in such a detailed manner as it was written both in EE and FEH. In the main text, we give the most likely interpretation of the Chopinesque entry in FED – two ones, determining the key moments of the change of hand position. The latter was perhaps supposed to be, also or only, an erasure of the prematurely printed 8 of the octave sign. The resulting fingering most probably corresponds to the indications in EE and FEH. category imprint: Differences between sources issues: Annotations in teaching copies , EE revisions , Annotations in FEH |
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b. 410
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composition: Op. 11, Concerto in E minor, Mvt I
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The fingering written in FEH, compliant with the authentic articulation of the L.H., could have been indicated by Chopin. There is a similar situation in bars 414 and 438. category imprint: Differences between sources |
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b. 411
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composition: Op. 11, Concerto in E minor, Mvt I
category imprint: Differences between sources issues: EE revisions |
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b. 411
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composition: Op. 11, Concerto in E minor, Mvt I
category imprint: Differences between sources |
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b. 412-413
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composition: Op. 11, Concerto in E minor, Mvt I
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The one written in FED between the staves may refer to f1 in the L.H. or to the g category imprint: Graphic ambiguousness; Differences between sources issues: Annotations in teaching copies , EE revisions , Annotations in FED , Differences in fingering , Annotations in FEH |
1 minim in the R.H. As the digit is placed closer to the L.H., since it touches the head of the 1st semiquaver, we assign it to this note. However, both in