Issues : Annotations in FED
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b. 315-316
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composition: Op. 11, Concerto in E minor, Mvt I
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In the main text, we include the slurs added in FED, running from the 2nd semiquaver to the octave on the 2nd beat of the bar. According to us, it specifies the notation and harmonises with the printed notation – cf. the slurs in the L.H. in these bars and the slur in the R.H. in bar 317. category imprint: Differences between sources; Corrections & alterations issues: Annotations in teaching copies , Annotations in FED , Authentic post-publication changes and variants |
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b. 315-316
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composition: Op. 11, Concerto in E minor, Mvt I
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All indications denote almost certainly the same fingering. In the main text, we give the two ones written in FEFo, crucial in this context. 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. 316-317
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composition: Op. 11, Concerto in E minor, Mvt I
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In FE, both the category imprint: Differences between sources issues: Annotations in teaching copies , EE revisions , Annotations in FED , Accidentals in different octaves , Inaccuracies in FE , GE revisions |
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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. 319
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composition: Op. 11, Concerto in E minor, Mvt I
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The fingering digits are written in FED in such a way that they can refer both to the right and to the left hand. According to us, the first possibility is much more likely – someone working on the 1st mov. of the Concerto with Chopin would not have had problems with the fingering of a short fragment of the chromatic scale. In turn, in the less typical figuration in the R.H., an indication could have warned of, e.g. using the 3-2 fingering (to avoid the 1st finger on a black key). category imprint: Graphic ambiguousness; Differences between sources |
raising a2 to a
2 in bar 316 and the 
raising c
3 in bar 317 are missing. These patent inaccuracies, most probably repeated after [A], were corrected both in 
