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b. 122
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composition: Op. 11, Concerto in E minor, Mvt II
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In the main text, we give the fingering of FES, written in pencil probably by Chopin and enhanced with ink by J. Stirling. The same fingering, marked with a different set of digits, is featured in FEH and EE. category imprint: Differences between sources issues: Annotations in teaching copies , EE revisions , Annotations in FES , Annotations in FEH |
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b. 122
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composition: Op. 11, Concerto in E minor, Mvt II
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The authenticity of both differing Chopinesque fingerings is unquestionable, hence in the main text we include them in a variant form. The fingering of FED, with a shift of the 5th finger on white keys, requires a better sense of the keyboard, probably going beyond the amateur skills of Miss Stirling. It can also suggest performing the final fragment of the 1st half of the bar using "harmonic legato" – in this case, holding the d category imprint: Differences between sources issues: Annotations in teaching copies , Annotations in FED , Differences in fingering , Annotations in FES |
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b. 122
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composition: Op. 11, Concerto in E minor, Mvt II
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In the main text, we include the fingering of FES, based almost certainly on Chopinesque indications. An identical fingering is featured also in FEH. This part of figuration was provided with fingering also by Fontana in EE; however, he suggested transferring the hand instead of a cross-over over the 1st finger. category imprint: Differences between sources issues: EE revisions , Differences in fingering , Annotations in FES , Annotations in FEH |
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b. 122-124
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composition: Op. 11, Concerto in E minor, Mvt II
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The fingering given by Fontana certainly overlaps with Chopin's indications in FES, in which the 1st finger crossing under on the 3rd semiquaver of each half of the bar was not indicated, yet performing all analogous figures with the same fingering was underlined. The digits in GE3 may indicate the same fingering; however, they allow for the use of different fingers at the transition between bars 122 and 123 (most probably 3212 starting from the penultimate semiquaver in bar 122). Next to bar 56, it is the only example of a fingering added by the reviser of GE3 in this movement of the Concerto. category imprint: Differences between sources issues: Annotations in teaching copies , EE revisions , Annotations in FES |
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b. 122
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composition: Op. 11, Concerto in E minor, Mvt II
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In FE, the only accidental in this bar is a category imprint: Interpretations within context; Differences between sources issues: EE revisions , Errors in FE , Accidentals in different octaves , GE revisions |
3 and f
before the 1st semiquaver, c1. This simplified notation, characteristic of young Chopin, was completed in the remaining editions, whereas a