Issues : Annotations in teaching copies
|
b. 63
|
composition: Op. 11, Concerto in E minor, Mvt II
..
The authenticity of the variant written in FEH seems to be highly likely (like in the case of the remaining variants in this movement of the Concerto – see e.g. bar 29 or 57). It is noteworthy that this version, although it does not strictly correspond to the orchestral part, results in a smoother combination of bars 63-64 when performed on one piano. According to us, such a subtle and dexterous consideration of the specific nature of the one-piano version's sound clearly points to Chopin being the author of this variant. category imprint: Differences between sources issues: Annotations in teaching copies , Authentic post-publication changes and variants , Annotations in FEH |
||||||||||
|
b. 63
|
composition: Op. 11, Concerto in E minor, Mvt II
..
In FE, there are no rests in the original notation of this bar, as a result of which it is not entirely clear which hand is supposed to perform the orchestral part on the 2nd and 3rd beats of the bar. Therefore, in the main text we suggest the indication assigning these crotchets to the left hand, which may have come from Chopin. category imprint: Differences between sources |
||||||||||
|
b. 64
|
composition: Op. 11, Concerto in E minor, Mvt II
..
In this and in the next bar, the fingering digits in FES were written in pencil by Chopin and preserved in ink by Miss Stirling. category imprint: Differences between sources |
||||||||||
|
b. 64
|
composition: Op. 11, Concerto in E minor, Mvt II
category imprint: Differences between sources |
||||||||||
|
b. 65
|
composition: Op. 11, Concerto in E minor, Mvt II
..
The fingering in FEH naturally complements the indication in FES, whose authenticity is unquestionable, hence we include it in the main text. category imprint: Differences between sources issues: Annotations in teaching copies , Annotations in FES , Annotations in FEH |
