Fingering
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b. 468
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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. 470
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composition: Op. 11, Concerto in E minor, Mvt I
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The fingering digits given in FE (→EE), most probably Chopinesque, do not clearly indicate that the 1st finger should be crossed under, which is key for performing the passage. The addition introduced by Fontana eliminates this understatement. Chopin probably considered the use of the 1st finger on a (a1, a2) to be resulting from the fingering of the previous bars, hence, according to the composer, indications were not required. In turn, he wanted to warn of playing the last note of each of the groups of semiquavers with the 4th finger, which could have been induced by the use of the 4th finger in the previous bar. The addition introduced in GE3 does not offer any new information. category imprint: Differences between sources issues: EE revisions , GE revisions |
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b. 470
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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. 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. 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 |
