Issues : Differences in fingering
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b. 272-273
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composition: Op. 11, Concerto in E minor, Mvt I
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In the main text, we include the change of fingers, written by Chopin in FED. The fingering of EE actually does not exclude the use of this procedure, yet it seems to be highly unlikely that Fontana would not have marked such a characteristic fingering if he had taken it into account. category imprint: Differences between sources issues: Annotations in teaching copies , EE revisions , Annotations in FED , Differences in fingering |
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b. 312-313
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composition: Op. 11, Concerto in E minor, Mvt I
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Substantially, the fingering written in FEH in bar 312 repeats the indications from bar 296. In turn, at the beginning of bar 313, there is another digit – '4,' whereas bar 297 indicates a '5.' In the main text, we include the 1st finger on a, marked again in FED. category imprint: Differences between sources issues: Annotations in teaching copies , Annotations in FED , Differences in fingering , Annotations in FEH |
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b. 317
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composition: Op. 11, Concerto in E minor, Mvt I
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The 1st finger written in FED determines a different hand position than the fingering in FEFo (and also FEH and EE). The authenticity of both fingerings seems probable, however, to the main text we choose the latter which adheres to the pattern indicated in the preceding bars. Such a consistency supports additionally the authenticity of this fingering, all the more since we cannot completely exclude a possible mistake in FED. category imprint: Differences between sources issues: Annotations in teaching copies , EE revisions , Annotations in FED , Differences in fingering , Annotations in FEH , Annotations in FEFo |
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b. 322-324
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composition: Op. 11, Concerto in E minor, Mvt I
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In the places where FEH and EE give fingering for the same notes, the indications are totally compliant, which results from the consistent use of the 1st finger on a white and 2nd finger on a black key on the 1st note of each group of semiquavers. However, according to us, it does not mean that the fingering is identical, since Fontana copies the fingers 3-4 for the middle semiquavers of each group, whereas in FEH, the notes are devoid of indications (with one exception), which suggests the use of subsequent fingers, hence 2-3 after the 1st finger and 3-4 after the 2nd one. This conclusion is confirmed by the aforementioned exception – the 4th finger on a category imprint: Differences between sources issues: Annotations in teaching copies , EE revisions , Differences in fingering , Annotations in FEH |
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b. 326-327
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composition: Op. 11, Concerto in E minor, Mvt I
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The fingering written in FEH and Fontana's fingering in EE applying to the same notes is generally compliant. However, the differences, appearing from the 5th semiquaver in bar 326, suggest that in the further part of the figuration, at least until the middle of bar 327, the fingering rule was different in each of the sources. In FEH, the last digits are 4141, so one can assume that the pairs of 41 fingers are to be applied also in the further part (most probably with a change to 51 in bigger intervals). In turn, Fontana suggests using the 2nd finger also on f category imprint: Differences between sources issues: Annotations in teaching copies , EE revisions , Differences in fingering , Annotations in FEH |
in bar 323 naturally stems from the 2nd finger marked on the initial c
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