The fingering added by GE2 (→GE3,FESB) could be coming from Chopin; particularly in his youth, he would use broad passage positions, e.g. in the Concerto in F minor, Op. 21, I mov., b. 237 and 239, Etude in C, Op. 10 No. 1, b. 11 and 30, and particularly in the Concerto in E minor, Op. 11, I mov., b. 449. However, the examples showing that this fingering differs from his typical solutions confirmed by other pieces are more revealing:
- b. 55, 5-4 on e
3-d3 – in such situations, Chopin would typically suggest to slip the finger, e.g. 5-5 in the Polonaise in E, Op. 22, b. 57 or 4-4 in the Nocturne in E, Op. 9 No. 2, b. 6 or to cross the 5th finger under the 4th finger, e.g. in the Etude in A minor, Op. 25 No. 11, b. 82; - b. 56-57, 5-4 on d3-c3 or g3-f3 – taking advantage of the rest, Chopin would repeat the finger to reduce the extension of the hand, e.g. 5-5 in the Polonaise in E, Op. 22, b. 22 or in the Nocturne in E, Op. 9 No. 2, b. 8.
See also b. 57 and 58.
category imprint: Differences between sources
issues: GE revisions, Authentic corrections of GE
notation: Fingering
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