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b. 106-108
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composition: Op. 11, Concerto in E minor, Mvt II
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In the first halves of bar 106 and 108, FES contains a fingering written in pencil, generally very blurry (erased?), which poses significant problems not only in recognising the digits, but also even in stating whether they were written in a given place at all. In the places where the digits are distinct enough to state it, one can recognise Chopin's hand. In the main text, we give the digits we were able to decipher on the basis of the available sources to a satisfactory degree of probability. It is noteworthy that the only completely distinct digit, the 3rd finger on e1, the 4th semiquaver in bar 106, generally clearly defines already the entire fingering. The fingering in FEH indicates a different hand position, while the use of the cross-over of the 5th finger seems to be less typical of Chopin in this context. Fontana's fingering in EE is still different, although much closer to the one in FEH. The authenticity of both fingerings is dubious. 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. 106-108
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composition: Op. 11, Concerto in E minor, Mvt II
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Like in the 1st half of bar 106 and 108, the fingering in FES, most probably Chopinesque, is very difficult to decipher. According to the General Editorial Principles, p. 17, in the main text we give the digits, complementing each other, written in both bars already in the first (bar 106). The differing fingering of FEH may be considered an authentic alternative. Fontana's fingering in EE is fully compliant with the entry in FES and essentially also with FED. category imprint: Differences between sources; Editorial revisions issues: Annotations in teaching copies , EE revisions , Differences in fingering , Annotations in FES , Annotations in FEH |
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b. 106-108
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composition: Op. 11, Concerto in E minor, Mvt II
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In the main text, in bar 106 we give a fingering based on the complementary entries in FES in bar 106 and 108 – cf. General Editorial Principles, p. 17. It is characterised by regular changes of hand position – the 1st finger falls on e2 both in the ascending and descending parts of the passage. The digits written in those bars in FEH describe a different fingering, in which in the ascending part of the passage the 1st finger falls on b1, which, at the expense of a broader hand position – b1-c category imprint: Differences between sources issues: Annotations in teaching copies , EE revisions , Annotations in FES , Annotations in FEH |
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b. 106-108
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composition: Op. 11, Concerto in E minor, Mvt II
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. 106-108
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composition: Op. 11, Concerto in E minor, Mvt II
category imprint: Differences between sources issues: Annotations in teaching copies , Annotations in FES , Annotations in FEH |
3 – allows for a slightly easier change of position.
