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Issues : Annotations in teaching copies
b. 47
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composition: Op. 11, Concerto in E minor, Mvt II
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The tenuto dashes added in FED emphasise the split of the melody into 2 voices – cf. the notation of analogous bar 96. Chopin would use this mark only occasionally, e.g. in the Concerto in F minor, op. 21, the 2nd mov., bar 18. category imprint: Differences between sources |
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b. 47
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composition: Op. 11, Concerto in E minor, Mvt II
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In the main text, we add a cautionary category imprint: Differences between sources issues: Annotations in teaching copies , EE revisions , GE revisions , Cautionary accidentals , Annotations in FEH |
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b. 49
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composition: Op. 11, Concerto in E minor, Mvt II
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Chopin's poorly legible entry in FES most probably indicates the use of the 4th finger on d category imprint: Differences between sources issues: Annotations in teaching copies , EE revisions , Annotations in FES |
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b. 49
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composition: Op. 11, Concerto in E minor, Mvt II
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In FEH, the ending of this bar was provided with two diagonal crosses, with which Chopin would often mark places discussed during lessons, most probably problematic. Moreover, there is an ambiguous entry between a category imprint: Graphic ambiguousness; Differences between sources issues: Annotations in teaching copies , Authentic post-publication changes and variants , 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 |