mUltimate Chopin

Op. 11, Concerto in E minor, Mvt II

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b. 118

composition: Op. 11, Concerto in E minor, Mvt II

Fingering written into FES

No fingering in FE (→GE)

Fingering in EE
..

In the main text, we give a slide of the 5th finger, characteristic of Chopin, copied in FES. Therefore, the standard fingering added by Fontana in EE is probably inauthentic in the first half of the passage.

category imprint: Differences between sources

issues: Annotations in teaching copies , EE revisions , Annotations in FES

b. 118-119

composition: Op. 11, Concerto in E minor, Mvt II

..

In FE, one can notice in these bars traces of removing shorter slurs, three in bar 118 and one in bar 119.

category imprint: Corrections & alterations; Source & stylistic information

issues: Authentic corrections of FE

b. 120

composition: Op. 11, Concerto in E minor, Mvt II

Fingering written into FES

Fingering written into FEH

No teaching fingering
..

In FES, Chopin again entered here a fingering given earlier in analogous bar 116. In FEH, the same fingering is marked, although the digits are written next to another set of notes. In accordance with the General Editorial Principles, p. 17, we do not include these indications in the main text.

category imprint: Differences between sources

issues: Annotations in teaching copies , Annotations in FES , Annotations in FEH

b. 121

composition: Op. 11, Concerto in E minor, Mvt II

Fingering written into FES

No teaching fingering
..

The fingering digit written by Chopin in FES naturally combines with the Chopinesque fingering of an identical passage in bar 117, given in FED. In this case, we give it in the main text where it was entered, since in spite of compliance, the fingerings are independent – it is also the 4th finger on f3 that can lead to the fingering of FED in bar 117, while the single digit in FES in bar 121 does not determine the fingering of the further part of this figuration.

category imprint: Differences between sources

issues: Annotations in teaching copies , Annotations in FES

b. 122

composition: Op. 11, Concerto in E minor, Mvt II

e tied in FE (→GE) & EE2(→EE3)

e repeated in EE1
..

The missing tie of e may be an oversight of the engraver of EE1, corrected in EE2 (→EE3). However, it cannot be excluded that the omission of the tie was a decision of the reviser who considered the tie to be a mistake, noticing that Chopin could have written e as a semibreve, like in bar 116.
The dash visible in FEH before the 2nd e minim is perhaps related to the issue of sustaining it (as long as it conveys anything specific at all). Its authenticity and meaning are, however, unclear – one can interpret it as a strikethrough of the tie, which would mean a repetition of e, or a deletion of the tie and this minim, which would emphasise no repetition. In the face of these doubts, we do not include this mark. 

category imprint: Graphic ambiguousness; Differences between sources

issues: Annotations in teaching copies , EE revisions , Errors in EE , Annotations in FEH