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b. 139-148
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composition: Op. 11, Concerto in E minor, Mvt I
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The slurs in the L.H. added in bars 139-140 and 147-148 in EE and GE3, although substantially justified, are unnecessary, since Chopin would generally consider the slurs over the R.H. to be enough in such contexts – cf. e.g. the slurs in the first part of the Etude in B minor, op. 25, no. 10. category imprint: Differences between sources issues: EE revisions , GE revisions |
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b. 141
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composition: Op. 11, Concerto in E minor, Mvt I
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In FE (→EE1), the dots prolonging the E-B minim were overlooked. The patent mistake was corrected in GE and EE2 (→EE3). category imprint: Interpretations within context; Differences between sources issues: EE revisions , Errors in FE , GE revisions , Rhythmic errors , Errors repeated in EE |
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b. 141
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composition: Op. 11, Concerto in E minor, Mvt I
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All four sources featuring the fingering most probably describe the same finger arrangement. Out of the two digits written in FEH, only the latter, according to us, can be attributed to Chopin's hand. In the main text, we give the fingering written by Chopin in FED (certainly) and FEH (probably). category imprint: Differences between sources issues: Annotations in teaching copies , EE revisions , Annotations in FED , Annotations in FEH , Annotations in FEFo |
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b. 142-144
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composition: Op. 11, Concerto in E minor, Mvt I
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The missing slur is most probably an oversight in this case, attributed to Chopin or the engraver of FE (→EE1,GE1→GE2), cf. an analogous phrase 4 bars later. The slur in bars 143-144 was completed in EE2 (→EE3), whereas in GE3 – over the entire semiquaver sequence. In the main text, we suggest the latter, provided that the authentic slur could have been led further, perhaps up to bar 146. category imprint: Differences between sources; Editorial revisions issues: EE revisions , GE revisions |
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b. 142-144
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composition: Op. 11, Concerto in E minor, Mvt I
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Fontana's fingering given in EE almost certainly does not come from Chopin, since it is difficult to assume that Fontana could have had such precise, variant indications of the composer at his disposal. The authenticity of the fingering written by a foreign hand in FEH is also questionable. The basic scheme of both fingerings, considering the first variant of the fingering of EE, are in common with each other; the difference applies only to the beginning, which deviates from the scheme in Fontana's version. category imprint: Differences between sources issues: Annotations in teaching copies , EE revisions , Differences in fingering , Annotations in FEH |
