Issues : Annotations in FEH
|
b. 148-149
|
composition: Op. 11, Concerto in E minor, Mvt III
..
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 |
||||||||
|
b. 150-151
|
composition: Op. 11, Concerto in E minor, Mvt III
..
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 |
||||||||
|
b. 152-154
|
composition: Op. 11, Concerto in E minor, Mvt III
..
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 |
||||||||
|
b. 154-155
|
composition: Op. 11, Concerto in E minor, Mvt III
category imprint: Differences between sources |
||||||||
|
b. 156-158
|
composition: Op. 11, Concerto in E minor, Mvt III
category imprint: Differences between sources |
1-e2 sixth.
