mUltimate Chopin

Op. 11, Concerto in E minor, Mvt II

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Issues : Annotations in FEH

b. 26

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

Fingering written into FEH

Fingering written into FED

No teaching fingering
..

The convergence with the fingering of FED provides, according to us, a sufficient guarantee for the authenticity of the entry of FEH, hence we include it in the main text.

category imprint: Differences between sources

issues: Annotations in teaching copies , Annotations in FED , Annotations in FEH

b. 29

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

Four-note chord in FE (→GE,EE)

Five-note chord in FEH
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The variant included in FEH bears the hallmarks of authenticity. Leading the melody inside more extensive chords, often within the span of a ninth between the outermost sounds, belongs to Chopin's characteristic compositional and pianistic means (cf. e.g. the Ballade in G minor, op. 23, bar 114 and 174, the Prelude in F major, op. 28, no. 13, bars 30-32, the Sonata in B minor, op. 35, the 3rd mov., bars 19-20, the Prelude in C minor, op. 45, bar 79).

category imprint: Differences between sources

issues: Annotations in teaching copies , Annotations in FEH

b. 37

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

Fingering written into FEH

No teaching fingering
..

category imprint: Differences between sources

issues: Annotations in teaching copies , Annotations in FEH

b. 38

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

Fingering written into FEH

Fingering written into FES

No fingering in FE (→GE)

Fingering in EE
..

The fingering in FES was written in pencil, by Chopin's hand, except for the 1 digit, written in quill by the owner of the collection including this copy. Miss Stirling would often 'enhance' the Chopinesque entries with ink to increase their legibility and sometimes even to save them from disappearing due to the wear of graphite (e.g. in the next bar). We include this fingering, being authentic, in the main text. In turn, the fingering in FEH, written by a foreign hand, raises doubts, since it did not take into account a longer hold of the f note, copied by Chopin. Fontana's fingering in EE is also questionable – see bar 25.

category imprint: Differences between sources

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

b. 42

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

..

In FE (→GE1), the top note of the 10th semiquaver is an a2 (with a ); a2 is then restored with a sharp at the beginning of the 4th beat in the bar. The unequivocal mistake of the engraver is confirmed by corrections in three out of four pupils' copies – FES, FEJ and FEH. Respective revisions were introduced also in EE and subsequent GE – in GE2, the erroneous  was changed to a , whereas in EE and GE3, both marks were removed.

category imprint: Interpretations within context; Differences between sources

issues: Annotations in teaching copies , EE revisions , Errors in FE , GE revisions , Annotations in FES , Annotations in FEJ , Errors repeated in GE , Annotations in FEH