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b. 142
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composition: Op. 11, Concerto in E minor, Mvt III
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In FEH, there is an added cautionary category imprint: Differences between sources; Source & stylistic information |
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b. 144
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composition: Op. 11, Concerto in E minor, Mvt III
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The fingering of FED represents a characteristic Chopinesque ploy, i.e. passing the 4th finger over the 5th – cf. e.g. the 1st mov. of the Concerto, bar 293 or the Etude in A Minor, Op. 10 No. 2, bars 20-22. It puts into question – although it does not exclude it entirely – the authenticity of the differing fingering of FEH and EE. category imprint: Differences between sources issues: Annotations in teaching copies , Annotations in FED , Differences in fingering , Annotations in FEH |
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b. 145-147
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composition: Op. 11, Concerto in E minor, Mvt III
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In each of these bars, FEH features a vertical accent over the 4th semiquaver of the bar. The first two only confirm (or possibly explain the meaning of) the printed long accents. The third one may be considered an additional argument for adding an accent. category imprint: Differences between sources |
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b. 145-146
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composition: Op. 11, Concerto in E minor, Mvt III
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It is difficult to determine the reason the accent in GE was omitted – possible options are an oversight or a revision of GE (by analogy to bar 147?), or possibly the fact that the mark was added only just in the last phase of proofreading of FE. Not only did GE3 not complete that deficiency, but it also overlooked the mark in bar 146, which can also be interpreted as a mistake or revision. category imprint: Differences between sources issues: Errors in GE |
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b. 145-147
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composition: Op. 11, Concerto in E minor, Mvt III
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The fingering of FEH raises certain doubts, in particular the 4th finger on f category imprint: Differences between sources |
before d
1 on the 2nd quaver in the L.H. It is difficult to determine what the motivation of the person adding that accidental was, since nothing suggests here a possibility of a mode change, whereas the last alteration of d
