Fingering
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b. 86
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composition: Op. 11, Concerto in E minor, Mvt II
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The fingering written in FES and FEH may be considered complementary. Allegedly, none of them is written by Chopin's hand, yet the authenticity of the indications in FES is unquestionable (except for possible mistakes), whereas in FEH – it cannot be excluded. category imprint: Differences between sources issues: Annotations in teaching copies , Annotations in FES , Annotations in FEH |
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b. 86
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composition: Op. 11, Concerto in E minor, Mvt II
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The fingering in FEH is written by a foreign hand, which does not exclude a possibility that it could come from Chopin. Therefore, we would be dealing with a quite uncommon situation of differing authentic fingerings of the same place. category imprint: Differences between sources issues: Annotations in teaching copies , Differences in fingering , Annotations in FES , Annotations in FEH |
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b. 86
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composition: Op. 11, Concerto in E minor, Mvt II
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The fingering in FEH indicates a return to performing half-bar passages in one flexible hand position, without transferring it like in the previous bar. category imprint: Differences between sources |
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b. 87
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composition: Op. 11, Concerto in E minor, Mvt II
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When interpreted literally, the fingering in FE raises doubts due to its problematic purpose – the 5th finger on D category imprint: Interpretations within context issues: EE revisions , Errors in FE |
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b. 88
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composition: Op. 11, Concerto in E minor, Mvt II
category imprint: Differences between sources |
is most obvious in this context and it is difficult to imagine why Chopin would have wanted to indicate its use right here. According to us, the engraver assigned the digit to a wrong note, hence in the main text we place it under d
