Issues : Annotations in teaching copies
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b. 38
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composition: Op. 11, Concerto in E minor, Mvt II
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The fingering in FES was written in pencil, by Chopin's hand, except for the 1 digit, written in quill by the owner of the collection including this copy. Miss Stirling would often 'enhance' the Chopinesque entries with ink to increase their legibility and sometimes even to save them from disappearing due to the wear of graphite (e.g. in the next bar). We include this fingering, being authentic, in the main text. In turn, the fingering in FEH, written by a foreign hand, raises doubts, since it did not take into account a longer hold of the f category imprint: Differences between sources issues: Annotations in teaching copies , EE revisions , Annotations in FES , Annotations in FEH |
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b. 39
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composition: Op. 11, Concerto in E minor, Mvt II
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In the last third on the 3rd crotchet in the bar in FE (→GE1→GE2), there is no category imprint: Interpretations within context; Differences between sources issues: Annotations in teaching copies , EE revisions , Errors in FE , Omissions to cancel alteration , GE revisions , Annotations in FES , Errors repeated in GE |
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b. 39
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composition: Op. 11, Concerto in E minor, Mvt II
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The fingering in the 1st half of the bar in FES was written in ink by Miss Stirling, most probably on the digits written by Chopin. In the 2nd half of the bar, original Chopinesque fingering added in pencil survived. category imprint: Differences between sources |
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b. 41
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composition: Op. 11, Concerto in E minor, Mvt II
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Barely visible fingering digits written in pencil by Chopin. category imprint: Differences between sources |
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b. 41
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composition: Op. 11, Concerto in E minor, Mvt II
category imprint: Differences between sources |
note, copied by Chopin. Fontana's fingering in 
restoring e2. The correct notation is featured in 
