CGS
Main text
A - Autograph
FC - Fontana's copy
CGS - Copy by George Sand
FE - French edition
FE1 - First French edition
FE2 - Corrected impression of FE1
FED - Dubois copy
FEJ - Jędrzejewicz Copy
FES - Stirling copy
FESch - Scherbatoff copy
GE - German edition
GE1 - First German edition
GE2 - Revised impression of GE1
GE3 - Corrected impression of GE2
EE - English edition
EE1 - First English edition
EE1a - Corrected impression of EE1
EE2 - Revised impression of EE1a
compare
  b. 16-18

Fingering written into FEJ

Fingering written into FES

No teaching fingering

Our variant suggestion based on FEJ & FES

In the ending of the phrase, starting from the last semiquaver in b. 16, FEJ and FES present completely different fingering versions. The only point in common, the 5th finger on D in b. 17, allows us to consider the fingering used before and after independently – e.g. the 1st finger can be used only just on A, as it is done in FES, but end with the 3rd finger on F, which was indicated in FEJ. In turn, the 3rd finger written in FEJ at the beginning of b. 18 does not combine with the second, with which the previous F note was marked in FES. In the FES itself, the minim in bar 18 is not marked with fingering – the sign below it do not form a digit in our opinion – so both notes in b. 18 were possibly to be performed with the 1st finger, clearly separating the phrases, in accordance with the slurring. It cannot be ruled out that one of the lines written there underlines such a separation.

Compare the passage in the sources »

category imprint: Differences between sources; Editorial revisions

issues: Annotations in teaching copies, Differences in fingering, Annotations in FES, Annotations in FEJ

notation: Fingering

Go to the music

.