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b. 502-503
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composition: Op. 11, Concerto in E minor, Mvt III
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FEH exactly repeats the fingering written in bars 498-499. According to us, it is likely that the entries were performed in the reverse order – Chopin marked the fingering for the second time, which is frequent in his pupils' copies, while the pupil copied it in the first appearance of this figure an octave lower. A fragment of the fingering given in bar 498 was repeated here also in EE. category imprint: Differences between sources issues: Annotations in teaching copies , EE revisions , Differences in fingering , Annotations in FEH |
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b. 503
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composition: Op. 11, Concerto in E minor, Mvt III
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In the main text, we add cautionary naturals before e1 and e2. They were added already in EE. category imprint: Differences between sources; Editorial revisions issues: EE revisions |
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b. 504
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composition: Op. 11, Concerto in E minor, Mvt III
category imprint: Differences between sources issues: GE revisions |
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b. 505-508
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composition: Op. 11, Concerto in E minor, Mvt III
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The mark under the 2nd triplet is a long accent or a short diminuendo, and both interpretations can be considered justified. However, having analysed all three analogous bars (bars 504-505 and 508), in the main text we adopt a short accent after bar 504. category imprint: Graphic ambiguousness; Differences between sources issues: Long accents , GE revisions |
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b. 508
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composition: Op. 11, Concerto in E minor, Mvt III
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In the majority of the editions, the three markings are long accents or short diminuendoes. Admittedly, it is difficult to differentiate between them in this context; therefore, the classification adopted by us cannot be considered conclusive. In the main text, we tend to the interpretation applied in GE3, considering the notation of analogous bar 504 to be more accurate. category imprint: Graphic ambiguousness issues: Long accents , GE revisions |
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