mUltimate Chopin

Op. 11, Concerto in E minor, Mvt I

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b. 565

composition: Op. 11, Concerto in E minor, Mvt I

..

In FE, there is no ​​​​​​​ restoring g2. The patent mistake was corrected both in GE and EE.

category imprint: Interpretations within context; Differences between sources

issues: EE revisions , Errors in FE , Omissions to cancel alteration , GE revisions

b. 566

composition: Op. 11, Concerto in E minor, Mvt I

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In the main text, we add a cautionary  before d3 (the  ​​​​​​​before f​​​​​​​1 in the L.H. is present in all sources).

category imprint: Editorial revisions; Source & stylistic information

issues: Cautionary accidentals

b. 566

composition: Op. 11, Concerto in E minor, Mvt I

'1' on 3rd note in FE (→EE)

No digit in GE
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The missing 2nd fingering digit is most probably a mistake of the engraver of GE.

category imprint: Differences between sources

issues: Errors in GE

b. 567

composition: Op. 11, Concerto in E minor, Mvt I

Fingering written into FEH

No fingering in FE (→GE)

Fontana's fingering in EE
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The entry of FEH defines a different arrangement of fingers with repetitions of the initial figure than the one indicated by Chopin at the beginning of the bar. In accordance with what was said in the previous note, this arrangement seems to be more natural. In EE, Fontana gives only the fingering of the ending of the bar.

category imprint: Differences between sources

issues: Annotations in teaching copies , EE revisions , Annotations in FEH

b. 567

composition: Op. 11, Concerto in E minor, Mvt I

3rd finger in FE (→GE,EE)

2nd finger as our alternative suggestion
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According to us, the first of the Chopinesque fingering digits given in FE (→GE,EE) may be erroneous. In such passages, different sounds are generally played with different fingers, which together create a specific arrangement for a given passage, repeated in the next octaves (cf. bar 569). Therefore, it is generally enough to give fingering of the first figure as Chopin did, e.g. in the Etude in C Major, Op. 10 No. 1. Performing both g and a with the 3rd finger breaches this rule and impedes performance, not offering anything in exchange. However, if we perform g with the 2nd finger, which was just on the adjacent black key (f​​​​​​​), the 3rd finger may remain on a, which it played in the previous bar. Therefore, taking into account a possibility of a mistake, we give an alternative suggestion with the use of the 2nd finger.

category imprint: Interpretations within context; Editorial revisions

issues: Errors in FE