Issues : Annotations in FEH
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b. 50
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composition: Op. 11, Concerto in E minor, Mvt II
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The compliance between the fingering in FES and FEH contributes to the authenticity of the entry in the latter. Therefore, it allows for considering the fingering added in the next bar, continuing the discussed entry, to be authentic. category imprint: Differences between sources issues: Annotations in teaching copies , Annotations in FES , Annotations in FEH |
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b. 50
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composition: Op. 11, Concerto in E minor, Mvt II
category imprint: Differences between sources |
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b. 51
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composition: Op. 11, Concerto in E minor, Mvt II
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The fingering in FEH most probably clarifies the fingering signalled already in the previous bar, hence it already concerns its 2nd half. We suggest it in the main text, since its authenticity in the previous case is confirmed by FES. According to p. 17 of the General Editorial Principles, the fingering should be given exactly there, i.e. in the 2nd half of bar 50, which we, however, do not perform due to the varied slurring, whose details are uncertain, which may suggest a performing difference between the discussed place and the 2nd half of bar 50. category imprint: Differences between sources |
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b. 55
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composition: Op. 11, Concerto in E minor, Mvt II
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The fingering of FEH in this bar, as well as in bar 58 and 59, may be authentic – the handwriting resembles the Chopinesque one, whereas the hand positions resulting from the finger configuration are natural. category imprint: Differences between sources |
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b. 57
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composition: Op. 11, Concerto in E minor, Mvt II
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The arpeggio with a grace note, added in FEH, is a very characteristic ornament of Chopin – cf. e.g. the Concerto in F minor, op. 21, the 2nd mov., bar 75 or bar 17 and 85. category imprint: Differences between sources issues: Annotations in teaching copies , Authentic post-publication changes and variants , Annotations in FEH |
