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b. 148-149
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composition: Op. 11, Concerto in E minor, Mvt III
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The fingerings of FEH and EE differ in the initial part of the figuration – in the former the hand immediately adjusts to the ascending part of the passage (the 3rd finger implicitly on b1), while the use of the 1st finger on a1 prepares a slightly more convenient grip of the g category imprint: Differences between sources issues: Annotations in teaching copies , EE revisions , Differences in fingering , Annotations in FEH |
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b. 150-151
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composition: Op. 11, Concerto in E minor, Mvt III
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Initially, the fingering of FEH repeats the idea written in the previous bars. In the descending part of the passage, the fingering scheme of the ascending part is preserved, with a small exception for a convenient passing-over – the 2nd and not the 3rd finger on the 5th semiquaver of bar 151. That fingering could have been indicated by Chopin; however, since we are not able to confirm that possibility, we do not include it in the main text. category imprint: Differences between sources |
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b. 152
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composition: Op. 11, Concerto in E minor, Mvt III
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The wedge of GE is probably a mistake. category imprint: Differences between sources issues: Inaccuracies in GE , Wedges |
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b. 152-154
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composition: Op. 11, Concerto in E minor, Mvt III
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In spite of differences, the indications of both sources probably represent the same fingering. A possible difference may concern only the 1st semiquaver of bar 152 – the missing marking in EE suggests the use of the 2nd finger, which is more natural for this scheme. category imprint: Differences between sources issues: Annotations in teaching copies , EE revisions , Annotations in FEH |
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b. 154-155
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composition: Op. 11, Concerto in E minor, Mvt III
category imprint: Differences between sources |
1-e2 sixth.
