mUltimate Chopin

Op. 11, Concerto in E minor, Mvt II

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Issues : Annotations in teaching copies

b. 122

composition: Op. 11, Concerto in E minor, Mvt II

e tied in FE (→GE) & EE2(→EE3)

e repeated in EE1
..

The missing tie of e may be an oversight of the engraver of EE1, corrected in EE2 (→EE3). However, it cannot be excluded that the omission of the tie was a decision of the reviser who considered the tie to be a mistake, noticing that Chopin could have written e as a semibreve, like in bar 116.
The dash visible in FEH before the 2nd e minim is perhaps related to the issue of sustaining it (as long as it conveys anything specific at all). Its authenticity and meaning are, however, unclear – one can interpret it as a strikethrough of the tie, which would mean a repetition of e, or a deletion of the tie and this minim, which would emphasise no repetition. In the face of these doubts, we do not include this mark. 

category imprint: Graphic ambiguousness; Differences between sources

issues: Annotations in teaching copies , EE revisions , Errors in EE , Annotations in FEH

b. 122

composition: Op. 11, Concerto in E minor, Mvt II

Fingering written into FES

Fingering written into FEH

No fingering in FE (→GE)

Fingering in EE
..

In the main text, we give the fingering of FES, written in pencil probably by Chopin and enhanced with ink by J. Stirling. The same fingering, marked with a different set of digits, is featured in FEH and EE.

category imprint: Differences between sources

issues: Annotations in teaching copies , EE revisions , Annotations in FES , Annotations in FEH

b. 122

composition: Op. 11, Concerto in E minor, Mvt II

Fingering written into FED

Fingering written into FES

No teaching fingering

Our variant suggestion
..

The authenticity of both differing Chopinesque fingerings is unquestionable, hence in the main text we include them in a variant form. The fingering of FED, with a shift of the 5th finger on white keys, requires a better sense of the keyboard, probably going beyond the amateur skills of Miss Stirling. It can also suggest performing the final fragment of the 1st half of the bar using "harmonic legato" – in this case, holding the d3 and f3 notes with fingers.

category imprint: Differences between sources

issues: Annotations in teaching copies , Annotations in FED , Differences in fingering , Annotations in FES

b. 122-124

composition: Op. 11, Concerto in E minor, Mvt II

Fingering written into FES

No fingering in FE (→GE1→GE2)

Fingering in EE

Fingering in GE3
..

The fingering given by Fontana certainly overlaps with Chopin's indications in FES, in which the 1st finger crossing under on the 3rd semiquaver of each half of the bar was not indicated, yet performing all analogous figures with the same fingering was underlined. The digits in GE3 may indicate the same fingering; however, they allow for the use of different fingers at the transition between bars 122 and 123 (most probably 3212 starting from the penultimate semiquaver in bar 122). Next to bar 56, it is the only example of a fingering added by the reviser of GE3 in this movement of the Concerto. 

category imprint: Differences between sources

issues: Annotations in teaching copies , EE revisions , Annotations in FES

b. 125

composition: Op. 11, Concerto in E minor, Mvt II

Fingering written into FES

No teaching fingering
..

category imprint: Differences between sources

issues: Annotations in teaching copies , Annotations in FES