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b. 85
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composition: Op. 11, Concerto in E minor, Mvt II
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The additions in both copies certainly mark the same fingering. In the main text, we suggest the digits written by Chopin's hand in FES, defining this fingering in an efficient manner by indicating the moments of hand position changes. category imprint: Differences between sources issues: Annotations in teaching copies , Annotations in FES , Annotations in FEH |
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b. 85
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composition: Op. 11, Concerto in E minor, Mvt II
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The fingering in FEH, indicating the use of the 1st finger on the black key for achieving a hand position enabling a comfortable performance of the tenth, is confirmed by the entry in FES in an analogous situation in bar 36. category imprint: Differences between sources |
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b. 86
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composition: Op. 11, Concerto in E minor, Mvt II
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The fingering written in FES and FEH may be considered complementary. Allegedly, none of them is written by Chopin's hand, yet the authenticity of the indications in FES is unquestionable (except for possible mistakes), whereas in FEH – it cannot be excluded. category imprint: Differences between sources issues: Annotations in teaching copies , Annotations in FES , Annotations in FEH |
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b. 86
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composition: Op. 11, Concerto in E minor, Mvt II
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The fingering in FEH is written by a foreign hand, which does not exclude a possibility that it could come from Chopin. Therefore, we would be dealing with a quite uncommon situation of differing authentic fingerings of the same place. category imprint: Differences between sources issues: Annotations in teaching copies , Differences in fingering , Annotations in FES , Annotations in FEH |
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b. 86
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composition: Op. 11, Concerto in E minor, Mvt II
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The fingering in FEH indicates a return to performing half-bar passages in one flexible hand position, without transferring it like in the previous bar. category imprint: Differences between sources |
