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b. 321-322
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composition: Op. 11, Concerto in E minor, Mvt I
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The slurs of FE (→GE1→GE2) at the transition between bars 321 and 322 are inaccurate and unclear. The slur over the 3rd beat of bar 321 runs from the b1 crotchet to the last semiquaver of that bar, whereas the beginning of the slur in bar 322, opening a new line of text, suggests continuation from the previous bar. According to us, both slurs are inaccurate; in the main text, we clarify them, taking advantage of the similarity between bars 321 and 319-320 – we assign the slur in bar 321 to the bottom voice and start the slur in bar 322 from the beginning of that bar. This solution was adopted already in EE. In turn, GE3 considered only the slur in bar 321 to be inaccurate; it was changed in such a way, so that the beginning of the slur in bar 322 was meaningful. This version, offering quite an advantageous phrasing (cf. the slur in the L.H. in bars 321-322), may be considered an alternative interpretation of FE. category imprint: Graphic ambiguousness; Differences between sources issues: Inaccuracies in FE , GE revisions |
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b. 321
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composition: Op. 11, Concerto in E minor, Mvt I
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In the main text, we include the fingering digits of FEFo, probably coming from Chopin. They define the fingering scheme for the R.H. for three subsequent bars. category imprint: Differences between sources issues: Annotations in teaching copies , Annotations in FEFo |
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b. 322
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composition: Op. 11, Concerto in E minor, Mvt I
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In the main text, we omit the category imprint: Editorial revisions issues: Cautionary accidentals |
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b. 322-324
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composition: Op. 11, Concerto in E minor, Mvt I
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The fingerings of FEH and EE are totally compliant, probably also with the Chopinesque fingering. In FEH, encompassing almost the entire three-bar sequence with the entry suggests that such fingering, not taking into account differences in the arrangement of black and white keys, was something new for the performer. category imprint: Differences between sources issues: Annotations in teaching copies , EE revisions , Annotations in FEH |
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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 |
(reminding?) before the 2nd semiquaver f
1. A mark in this place is totally unjustified, particularly in the sources in which a cautionary 
