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b. 26
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composition: Op. 11, Concerto in E minor, Mvt II
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The convergence with the fingering of FED provides, according to us, a sufficient guarantee for the authenticity of the entry of FEH, hence we include it in the main text. category imprint: Differences between sources issues: Annotations in teaching copies , Annotations in FED , Annotations in FEH |
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b. 26
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composition: Op. 11, Concerto in E minor, Mvt II
category imprint: Editorial revisions issues: Long accents |
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b. 26-27
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composition: Op. 11, Concerto in E minor, Mvt II
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The fingering given in EE is very natural, and it is likely that Chopin imagined the performance of that detail precisely in that way. However, it does not ensure that Fontana disposed of Chopin's indication in that respect. category imprint: Differences between sources issues: EE revisions |
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b. 29
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composition: Op. 11, Concerto in E minor, Mvt II
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The variant included in FEH bears the hallmarks of authenticity. Leading the melody inside more extensive chords, often within the span of a ninth between the outermost sounds, belongs to Chopin's characteristic compositional and pianistic means (cf. e.g. the Ballade in G minor, op. 23, bar 114 and 174, the Prelude in F category imprint: Differences between sources |
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b. 29
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composition: Op. 11, Concerto in E minor, Mvt II
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Minor gaps between the notes in FE hamper the evaluation of the size and placement of the mark, looking like a reversed accent. In this melodic and harmonic context, the mark in [A] could indicate a reversed accent (short or long) or a category imprint: Editorial revisions issues: Sign reversal |
major, op. 28, no. 13, bars 30-32, the Sonata in B
minor, op. 35, the 3rd mov., 
hairpin, encompassing the first or the second beat of the bar or both. According to us, it is the use of a reversed long accent that seems to be most likely.