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b. 104-105
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composition: Op. 11, Concerto in E minor, Mvt II
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The return to tempo is marked in FE (→EE) only in the solo part, in bar 105. Tempo 1o introduced a bar earlier in GE is most probably an editorial revision – cf. a similar situation in bar 52. category imprint: Differences between sources issues: GE revisions |
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b. 105-107
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composition: Op. 11, Concerto in E minor, Mvt II
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The fingering of FES, given in the main text in bars 105 and 107, with slide of the 1st finger, willingly used by Chopin, was written by him in pencil and repeated ("enhanced") by Miss Stirling in ink. In this light, the differing fingering of FEH seems to be much less typical of Chopin. In EE, Fontana offers two fingering variants, the first of which overlaps with the Chopinesque fingering (FES). category imprint: Differences between sources issues: Annotations in teaching copies , EE revisions , Differences in fingering , Annotations in FES , Annotations in FEH |
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b. 105
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composition: Op. 11, Concerto in E minor, Mvt II
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Fontana's fingering, given in EE in a place that can be actually performed only with this fingering, most probably does not come from Chopin. Cf. bar 109. category imprint: Differences between sources issues: EE revisions |
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b. 105
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composition: Op. 11, Concerto in E minor, Mvt II
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The indications of triplets are our addition. category imprint: Editorial revisions |
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b. 106-108
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composition: Op. 11, Concerto in E minor, Mvt II
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There are no cautionary naturals before the penultimate semiquaver in bar 106 and 108. They were most probably added in the last phase of proofreading of FE (→EE). category imprint: Differences between sources issues: Cautionary accidentals , Authentic corrections of FE |
