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b. 56
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composition: Op. 11, Concerto in E minor, Mvt II
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The con fuoco indication added in GE, incompatible with the phrase's character, is most probably a result of a mistake of the engraver of that edition. Cf. the Etude in C minor, op. 10, no. 12, bar 5. category imprint: Differences between sources issues: Errors in GE |
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b. 56
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composition: Op. 11, Concerto in E minor, Mvt II
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The fingering added in GE3 is obvious in this context. Its addition was probably aimed at underlining the necessity to hold the semibreve with hand and not with pedal, which, due to the change of the harmony in the middle of the bar, has to be released (changed). The choice of the places in which the reviser of this edition added fingering seems to be highly subjective – apart from this place, additional indications are to be found only in bar 123. category imprint: Differences between sources issues: GE revisions |
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b. 57
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composition: Op. 11, Concerto in E minor, Mvt II
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The arpeggio with a grace note, added in FEH, is a very characteristic ornament of Chopin – cf. e.g. the Concerto in F minor, op. 21, the 2nd mov., bar 75 or bar 17 and 85. category imprint: Differences between sources issues: Annotations in teaching copies , Authentic post-publication changes and variants , Annotations in FEH |
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b. 57
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composition: Op. 11, Concerto in E minor, Mvt II
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The 1st finger added next to the d category imprint: Interpretations within context; Differences between sources issues: EE revisions , Errors in GE |
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b. 57
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composition: Op. 11, Concerto in E minor, Mvt II
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Like in analogous bar 16, the arpeggio in EE is most probably an arbitrary addition of the reviser. category imprint: Differences between sources issues: EE revisions |
1 note, most probably in the last phase of proofreading of 
