|
b. 295
|
composition: Op. 11, Concerto in E minor, Mvt I
..
The mark in EE3 was added undoubtedly under the influence of analogous bar 311, in which, however, the dynamic marks are generally different (even contradictory on the 3rd beat of the bar), and nothing suggests that Chopin would have accepted the possibility of compiling them. category imprint: Differences between sources issues: EE revisions |
|||||||||||
|
b. 295
|
composition: Op. 11, Concerto in E minor, Mvt I
..
In the main text, we add a cautionary category imprint: Editorial revisions |
|||||||||||
|
b. 296
|
composition: Op. 11, Concerto in E minor, Mvt I
category imprint: Differences between sources; Editorial revisions |
|||||||||||
|
b. 296
|
composition: Op. 11, Concerto in E minor, Mvt I
..
The compliant fingering of EE and the one written in FEH does not influence the evaluation of their uncertain authenticity. category imprint: Differences between sources issues: Annotations in teaching copies , EE revisions , Annotations in FEH |
|||||||||||
|
b. 296-297
|
composition: Op. 11, Concerto in E minor, Mvt I
..
The first finger on a is given in all three sources containing fingering, and it is this digit that we include in the main text. Further indications of FEH, written by a foreign hand, present one of the possibilities of fingering this fragment; it is difficult to evaluate the likelihood of their authenticity, rather inconsiderable. category imprint: Differences between sources issues: Annotations in teaching copies , EE revisions , Annotations in FED , Annotations in FEH |
in 
before c
2.
