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Issues : EE revisions
b. 109
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composition: Op. 11, Concerto in E minor, Mvt II
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The fingerings of three sources, although marked differently, are completely compliant. category imprint: Differences between sources issues: Annotations in teaching copies , EE revisions , Annotations in FES , Annotations in FEH |
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b. 109
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composition: Op. 11, Concerto in E minor, Mvt II
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In this bar, differently than in analogous bar 105, the fingering added by Fontana in EE clarifies the combination of the scale sequence with the figure based on the broken chord. category imprint: Differences between sources issues: EE revisions |
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b. 111-113
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composition: Op. 11, Concerto in E minor, Mvt II
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It is difficult to evaluate the authenticity of the fingering of FEH in bars 111 and 113 – the digits are very similar to the Chopinesque ones, but the fingering differs from the one written by Chopin (in pencil, under Miss Stirling's entry written in ink) in FES. From the pianistic point of view, both fingerings are natural and convenient – in the fingering of FES, the next note, b1, is most probably to be performed with the 5th finger; it may be easier for a smaller hand. The digits added by Fontana in EE define the same fingering that was written in FEH. category imprint: Differences between sources; Editorial revisions issues: Annotations in teaching copies , EE revisions , Differences in fingering , Annotations in FES , Annotations in FEH |
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b. 111
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composition: Op. 11, Concerto in E minor, Mvt II
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The uncommonly precise indications in FEH were written by two different persons, which can be explained by the fact that, e.g. a pupil completed the teacher's entry. One digit given by Fontana in EE practically defines the same fingering, perhaps except for the last a1. category imprint: Differences between sources issues: Annotations in teaching copies , EE revisions , Annotations in FEH |
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b. 112
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composition: Op. 11, Concerto in E minor, Mvt II
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Sustaining the c category imprint: Differences between sources issues: EE revisions |