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Op. 11, Concerto in E minor, Mvt III

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b. 361

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

Fontana's fingering in EE

Fontana's fingering in EE
..

category imprint: Differences between sources

issues: EE revisions

b. 361-363

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

No fingering in FE (→GE)
..

In each of these bars (as well as in bar 360), Fontana marked in EE a finger swap on the G notes – from first to fifth in bars 360 and 362 and from fifth to first in bars 361 and 363. Such a fingering is a natural consequence of holds of those notes, carefully marked by Chopin; however, the fingering's function is not limited to the realisation of the octave sound of the bass note, which, e.g. in bars 362-363, is already guaranteed by the pedalling. Finger swaps on tied notes provide for a convenient and secure grip of the played notes (g and G1), which allows the performer to concentrate on the virtuoso passages in the R.H.

category imprint: Differences between sources

issues: EE revisions

b. 362

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

Fingering written into FED

Fingering written into FEH

Our alternative suggestion

No fingering in FE (→GE)

Fontana's fingering in EE
..

The fingering of FEH determines one of possible continuations of the Chopinesque entry in FED, whereas Fontana's fingering in FE – a different one. In the main text, we take into consideration the entry of FED only, defining the most important element of the passage's fingering – the thumb under. As an alternative solution, we suggest a combination of the fingering of FED with three digits of FEH, which could have been entered by Chopin.

category imprint: Differences between sources

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

b. 362-363

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

..

FE is missing the necessary accidentals at the beginning of the last triplet in bar 362. Moreover, the  raising e1 to e1 in bar 363 is only just at the beginning of the last triplet. In turn, a  is unnecessarily repeated before e2 at the end of the 1st triplet in bar 363. The missing accidentals were added both in GE and EE; however, the revisions were inaccurate – the erroneous accidentals were not completely removed, while EE added even a new one, a  before d2 at the beginning of the 2nd triplet in bar 363. It is only GE3 that introduced a notation compliant with all contemporary standards. 

category imprint: Interpretations within context; Differences between sources

issues: EE revisions , Accidentals in different octaves , Inaccuracies in FE , GE revisions , Cautionary accidentals

b. 363

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

3 accents in FE (→EE,GE1→GE2)

No marks in GE3
..

The omitted accents must be a mistake of GE3.

category imprint: Differences between sources

issues: Errors in GE