b. 96
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composition: Op. 11, Concerto in E minor, Mvt II
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The fingering in FEH implements one of the most characteristic Chopinesque pianistic ploys – sliding the finger from a black to white key (cf. e.g. the Sonata in B minor, op. 35, the 3rd mov., bar 28 and 31). Therefore, it seems to be likely that it was indicated by Chopin. category imprint: Differences between sources |
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b. 97
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composition: Op. 11, Concerto in E minor, Mvt II
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The missing accent must be considered Chopin's inaccuracy – cf. analogous bars 46, 48 and 95. category imprint: Editorial revisions |
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b. 98
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composition: Op. 11, Concerto in E minor, Mvt II
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In the main text, we include the fingering of FEH, written probably by Chopin and confirmed by the undoubtedly Chopinesque entry in FES. category imprint: Differences between sources issues: Annotations in teaching copies , Annotations in FES , Annotations in FEH |
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b. 98
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composition: Op. 11, Concerto in E minor, Mvt II
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In the main text, we give the more accurately marked fingering of FEH. Its authenticity is confirmed by the digits written in FES, indicating almost certainly the same fingering. The fingering added by Fontana in EE is also compliant with the entries from the pupils' copies in this case. category imprint: Differences between sources issues: Annotations in teaching copies , EE revisions , Annotations in FES , Annotations in FEH |
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b. 98
|
composition: Op. 11, Concerto in E minor, Mvt II
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In the main text, we give the undoubtedly authentic fingering of FED. The fingering of FEH is also probably authentic, especially since it combines with the fingering of FES and FEH written before and after in a more natural way. The compliance of the fingering of FEH with the fingering of EE added by Fontana is noteworthy. category imprint: Differences between sources issues: EE revisions , Annotations in FED , Differences in fingering , Annotations in FEH |