Fingering
|
b. 216
|
composition: Op. 11, Concerto in E minor, Mvt I
..
In EE, indicating a fingering digit only on the last note of the bar suggests that it is the previous scheme that applies to the previous ones, which results in the 3rd finger on f category imprint: Differences between sources issues: Annotations in teaching copies , EE revisions , Annotations in FED |
|||||||||||
|
b. 218
|
composition: Op. 11, Concerto in E minor, Mvt I
..
Like in bar 216, the digits present in EE and both pupils' copies denote the same fingering. In the main text, we give the indication whose authenticity is most likely, coming from FED. category imprint: Differences between sources issues: Annotations in teaching copies , EE revisions , Annotations in FED , Annotations in FEH |
|||||||||||
|
b. 219
|
composition: Op. 11, Concerto in E minor, Mvt I
..
All sources including respective indications define the same fingering. In the main text, like in the few previous bars, we give the indications written in FED. category imprint: Differences between sources issues: Annotations in teaching copies , EE revisions , Annotations in FED , Annotations in FEH |
|||||||||||
|
b. 250-251
|
composition: Op. 11, Concerto in E minor, Mvt I
..
The fingering of the octaves (here and in bars 252-255) given by Chopin generally does not deviate from the fingering indicated by Chopin a few years later in the Etude in B minor, op. 25, no. 10, bars 31-37. However, Fontana did not suggest the change of the fingers 5 and 4, which one could expect on the second octave in bar 251. category imprint: Differences between sources issues: EE revisions |
|||||||||||
|
b. 252-255
|
composition: Op. 11, Concerto in E minor, Mvt I
category imprint: Differences between sources issues: EE revisions |
2. In spite of the apparent concurrence, Fontana's fingering does not have to be fully compliant with the fingering of 
