Issues : Annotations in teaching copies
b. 96
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composition: Op. 11, Concerto in E minor, Mvt III
category imprint: Differences between sources |
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b. 119
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composition: Op. 11, Concerto in E minor, Mvt III
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FEH contains an ambiguous entry in the 2nd half of the bar – two almost vertical lines that can be interpreted as an emphasis on the entry of the solo part or, on the contrary, as a deletion of the 3rd quaver of the bar beginning the soloist part. It seems that the latter is supported by the diagonal cross over the 4th quaver, perhaps written as an additional marking of a new, shifted entry of the soloist. However, a possible variant gives rise to a number of doubts:
Therefore, the given version must be approached with great caution as a possible variant of uncertain authenticity. category imprint: Graphic ambiguousness; Differences between sources; Corrections & alterations issues: Annotations in teaching copies , Authentic post-publication changes and variants , Annotations in FEH |
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b. 120-121
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composition: Op. 11, Concerto in E minor, Mvt III
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Full compliance between the indications of EE and FEH may be a result of natural convenience of this fingering. category imprint: Differences between sources |
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b. 120
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composition: Op. 11, Concerto in E minor, Mvt III
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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 |
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b. 124
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composition: Op. 11, Concerto in E minor, Mvt III
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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 |