Issues : EE revisions
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b. 112
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composition: Op. 11, Concerto in E minor, Mvt II
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The fingering of FES and much more detailed indications in FEH overlap and complement themselves, so that they most probably indicate the same fingering. In the main text, we give the more sparing indications of FES. In the fingering of FEH, it is the difference with respect to the analogous passage in bar 111 that draws our attention – a different fingering of the 2nd semiquaver in the passage is adjusted to a different articulation of the 1st note, staccato in bar 111, legato in bar 112. category imprint: Differences between sources issues: Annotations in teaching copies , EE revisions , Annotations in FES , Annotations in FEH |
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b. 113
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composition: Op. 11, Concerto in E minor, Mvt II
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According to us, the fingering given in EE by Fontana does not come from Chopin. Changing the fingering of the same key arrangement at its repetition an octave higher does not seem to be necessary in this case, although it is naturally possible. A tendency to avoid wider gaps between the 1st and 2nd finger may be observed also in the fingering suggested by Fontana in the Etude in C major, op. 10, no. 1, e.g. in bar 3. category imprint: Differences between sources issues: EE revisions |
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b. 113
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composition: Op. 11, Concerto in E minor, Mvt II
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The fingering added in EE by Fontana is adjusted to the probably erroneous version of the 6th semiquaver of the bar (although its application in the version adopted in the main text is naturally possible). This fact most probably proves that it is totally arbitrary. The fingering of both sources, compliant in the ascending part of the passage, suggests changing the hand position marked by the placement of the 1st finger, which was on the a1 note in the previous passage. However, the Chopinesque fingering added to FES in the 2nd half of the bar, where the 1st finger is also on a1, suggests that Chopin meant to preserve this position also in the discussed passage, filling the 1st half of the bar. category imprint: Differences between sources issues: Annotations in teaching copies , EE revisions , Differences in fingering , Annotations in FEH |
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b. 118
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composition: Op. 11, Concerto in E minor, Mvt II
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The use of the 1st finger on the only white key of this passage is the most natural fingering of this figuration, hence it having been originated by Chopin is difficult to prove in EE and FEH. category imprint: Differences between sources issues: Annotations in teaching copies , EE revisions , Annotations in FEH |
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b. 118
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composition: Op. 11, Concerto in E minor, Mvt II
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In the main text, we give a slide of the 5th finger, characteristic of Chopin, copied in FES. Therefore, the standard fingering added by Fontana in EE is probably inauthentic in the first half of the passage. category imprint: Differences between sources issues: Annotations in teaching copies , EE revisions , Annotations in FES |
