Issues : Annotations in teaching copies
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b. 94
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composition: Op. 11, Concerto in E minor, Mvt II
category imprint: Differences between sources |
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b. 96
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composition: Op. 11, Concerto in E minor, Mvt II
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The fingering in FEH implements one of the most characteristic Chopinesque pianistic ploys – sliding the finger from a black to white key (cf. e.g. the Sonata in B category imprint: Differences between sources |
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b. 98
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composition: Op. 11, Concerto in E minor, Mvt II
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In the main text, we include the fingering of FEH, written probably by Chopin and confirmed by the undoubtedly Chopinesque entry in FES. category imprint: Differences between sources issues: Annotations in teaching copies , Annotations in FES , Annotations in FEH |
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b. 98
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composition: Op. 11, Concerto in E minor, Mvt II
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In the main text, we give the more accurately marked fingering of FEH. Its authenticity is confirmed by the digits written in FES, indicating almost certainly the same fingering. The fingering added by Fontana in EE is also compliant with the entries from the pupils' copies in this case. category imprint: Differences between sources issues: Annotations in teaching copies , EE revisions , Annotations in FES , Annotations in FEH |
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b. 98
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composition: Op. 11, Concerto in E minor, Mvt II
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The authenticity of the entry in FEH seems to be highly likely in the light of compliance with the fingering of FES written by Chopin. Fontana's fingering in EE defines a different hand position, being a natural continuation of the fingering written over the two previous notes in FED. category imprint: Differences between sources issues: Annotations in teaching copies , EE revisions , Differences in fingering , Annotations in FES , Annotations in FEH |
minor, op. 35, the 3rd mov., 
