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Issues : Annotations in FEH
b. 26
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composition: Op. 11, Concerto in E minor, Mvt II
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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 |
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b. 29
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composition: Op. 11, Concerto in E minor, Mvt II
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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 category imprint: Differences between sources |
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b. 37
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composition: Op. 11, Concerto in E minor, Mvt II
category imprint: Differences between sources |
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b. 38
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composition: Op. 11, Concerto in E minor, Mvt II
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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 category imprint: Differences between sources issues: Annotations in teaching copies , EE revisions , Annotations in FES , Annotations in FEH |
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b. 42
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composition: Op. 11, Concerto in E minor, Mvt II
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In FE (→GE1), the top note of the 10th semiquaver is an a2 (with a 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 |