mUltimate Chopin

Op. 11, Concerto in E minor, Mvt III

Text Compare Notes Sources Description

Issues : Annotations in teaching copies

b. 248

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

Fingering written into FEH

No teaching fingering
..

category imprint: Differences between sources

issues: Annotations in teaching copies , Annotations in FEH

b. 249-250

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

Fingering written into FEH

No teaching fingering
..

category imprint: Differences between sources

issues: Annotations in teaching copies , Annotations in FEH

b. 251

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

No teaching fingering
..

We give the identical entries in FED and FEH in the main text.

category imprint: Differences between sources

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

b. 254-259

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

Fingering written into FEH

No fingering in FE (→GE)

Fontana's fingering in EE in bar 258
..

Fontana's fingering in EE is most probably compliant with the one entered in FEH, although the indications themselves do not overlap. Providing indications only just in the second (identical) passage is noteworthy – it is a frequent phenomenon among the Chopinesque teaching entries.

category imprint: Differences between sources

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

b. 256-257

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

FE (→GE,EE)

FEH, literal reading

FEH, contextual interpretation
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The octave sign added in FEH most probably defines an authentic variant. According to us, it is much more likely that it was meant to move the entire figure of both hands by an octave, and not only of the R.H. 

category imprint: Interpretations within context; Differences between sources; Corrections & alterations

issues: Annotations in teaching copies , Authentic post-publication changes and variants , Annotations in FEH