Issues : Annotations in FES
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b. 86
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composition: Op. 11, Concerto in E minor, Mvt II
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The fingering written in FES and FEH may be considered complementary. Allegedly, none of them is written by Chopin's hand, yet the authenticity of the indications in FES is unquestionable (except for possible mistakes), whereas in FEH – it cannot be excluded. category imprint: Differences between sources issues: Annotations in teaching copies , Annotations in FES , Annotations in FEH |
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b. 86
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composition: Op. 11, Concerto in E minor, Mvt II
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The fingering in FEH is written by a foreign hand, which does not exclude a possibility that it could come from Chopin. Therefore, we would be dealing with a quite uncommon situation of differing authentic fingerings of the same place. category imprint: Differences between sources issues: Annotations in teaching copies , Differences in fingering , Annotations in FES , Annotations in FEH |
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b. 88
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composition: Op. 11, Concerto in E minor, Mvt II
category imprint: Differences between sources |
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b. 88
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composition: Op. 11, Concerto in E minor, Mvt II
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The fingering of the sequence of thirds written in FEH is confirmed by a compliant entry in FES and in the fragment based on the chromatic sequence of minor thirds also by the Chopinesque fingering in the Etude in G category imprint: Differences between sources issues: Annotations in teaching copies , Annotations in FES , Annotations in FEH |
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b. 89
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composition: Op. 11, Concerto in E minor, Mvt II
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In FES, there is a category imprint: Differences between sources issues: Annotations in teaching copies , Cautionary accidentals , Annotations in FES |
minor, op. 25, no. 6, 
added before f
2 on the 3rd beat of the bar. The mark is of a cautionary nature, facilitating an a prima vista performance of this fragment. Marks of a similar function are present also in bars 91, 92 and 98.