mUltimate Chopin

Op. 11, Concerto in E minor, Mvt III

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Fingering

b. 120-121

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

Fingering written into FEH

No fingering in FE (→GE)

Fontana's fingering in EE
..

Full compliance between the indications of EE and FEH may be a result of natural convenience of this fingering.

category imprint: Differences between sources

issues: Annotations in teaching copies , Annotations in FEH

b. 120

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

Digits added to Chopin's fingering in FEH

Chopin's fingering in FE (→GE)

Chopin's & Fontana's fingering in EE
..

Both EE and FEH completed the Chopinesque printed fingering. Chopin copied the distance of a fourth between the 3rd and 4th fingers also in the 1st mov. of the Concerto, in bar 449.

category imprint: Differences between sources

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

b. 124

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

Fingering written into FEH

No fingering in FE (→GE)

Fontana's fingering in EE
..

Initially, FEH copied the 4th finger for the 1st semiquaver in bar 124, which was then changed to the 5th one, which distinguished that fingering from the one given by Fontana in EE.

category imprint: Differences between sources

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

b. 124-125

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

No teaching fingering
..

category imprint: Differences between sources

issues: Annotations in teaching copies , Annotations in FEH

b. 128

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

2 fingering digits in FE (→EE,GE1→GE2)

1 digit in GE3
..

In FE (→GE1→GE2), there are two digits under the first two semiquavers, 1 and 3. The latter may be considered to be a fingering digit or a triplet marking, since in those editions both were engraved in the same font. However, the former seems to be much more likely:

  • placing both digits under subsequent notes, i.e. close to each other, naturally prompts us to interpret them as marks of the same category, which the first digit determines as fingering;
  • Chopin hardly ever marked semiquaver triplets with a digit; he was generally satisfied with them being separated with beams – FE does not contain any such marking in this movement of the Concerto, cf. also, e.g. the 2nd movement of the Concerto from bar 105 or the Etude in G​​​​​​​ Major, Op. 10 No. 5.

Taking into account the above, we interpret the number three as fingering, like it was already done in EE. The absence of the digit in GE3 may be a mistake.

category imprint: Differences between sources