Fingering
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b. 414
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composition: Op. 11, Concerto in E minor, Mvt I
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The digit 5, written in FEH, indicates a fingering corresponding to the articulation of the accompanying crotchets intended by Chopin – see the adjacent note. category imprint: Differences between sources |
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b. 414-415
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composition: Op. 11, Concerto in E minor, Mvt I
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The fingering of EE differs from the one written in FEH only in the repetition of indications, i.e. in a simplified, "reminding" form, in subsequent analogous figures. category imprint: Differences between sources issues: Annotations in teaching copies , EE revisions , Annotations in FEH |
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b. 416
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composition: Op. 11, Concerto in E minor, Mvt I
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The authenticity of the very entry in FEH is unconfirmed, but the indicated fingering is almost certainly Chopinesque. It is evidenced by the entry in FED in an analogous situation in bar 418, and the same fingering of the 2nd and 3rd beat written into FEFo. The fingering 321 for the repeated notes was also inscribed by Chopin in Waltz in E category imprint: Differences between sources issues: Annotations in teaching copies , EE revisions , Annotations in FEH , Annotations in FEFo |
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b. 416-417
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composition: Op. 11, Concerto in E minor, Mvt I
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All three sets of numerals describe the same, undoubtedly Chopinesque fingering. Chopin indicated the intervals of an octave to be performed with fingers 1-5 and 5-1 in similar figures also in other pieces – cf. the Concerto in F minor, op. 21, 1st mov., bars 101-103 or the Polonaise-Fantaisie, op. 61, bars 88-89. category imprint: Differences between sources issues: Annotations in teaching copies , EE revisions , Annotations in FEH , Annotations in FEFo |
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b. 417-418
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composition: Op. 11, Concerto in E minor, Mvt I
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According to us, the fingering of the ending of this bar given only by Fontana differs from the one resulting from the digits written before in FEH – the absence of further indications suggests rather maintaining the hand position in that case, hence using the 3rd or 4th finger on f category imprint: Differences between sources issues: EE revisions |
op. 18 (the initial motif and bar 21). The fingering of the four-note groups of semiquavers is compliant with the distinction of the inner voice indicated by Chopin in each of them. In the editors opinion, it is articulation and actually fingering that were an important, if not the most important, reason to apply this notation, which is indicated by the probably original form of these figures preserved, e.g. in 
1 and the 1st on c