Issues : Errors in EE
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b. 345-347
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composition: Op. 39, Scherzo in C♯ minor
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A correct text of LH in these three bars is a result of revisions in FE2 and GE2. An error in b. 345 (repetition of g
category imprint: Differences between sources issues: Errors in FE , Errors in EE , Errors in GE , GE revisions , FE revisions , Errors of GC |
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b. 348
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composition: Op. 39, Scherzo in C♯ minor
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Lack of category imprint: Differences between sources issues: Errors in EE |
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b. 351
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composition: Op. 11, Concerto in E minor, Mvt I
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When interpreted literally, the category imprint: Interpretations within context; Differences between sources issues: Long accents , EE revisions , Errors in EE , Sign reversal |
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b. 353
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composition: Op. 11, Concerto in E minor, Mvt I
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In EE1, one of the naturals was misplaced, since it was put before the 1st note of the chord, a1 (which does not require a mark), instead of before the topmost note, which, consequently, should be interpreted as d category imprint: Interpretations within context; Differences between sources issues: EE revisions , Errors in EE |
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b. 367
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composition: Op. 11, Concerto in E minor, Mvt III
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The version of EE is erroneous – cf. analogous bar 359; the mistake was probably caused by the similarity of subsequent triplets. In FEH, an annotation in the form of 'ut,' i.e. c, was written next to that note, which can be interpreted as a note that it is not an e. category imprint: Differences between sources; Source & stylistic information issues: Annotations in teaching copies , Errors in EE , Terzverschreibung error , Annotations in FEH |
in 
in 
denotes a local dynamic climax, after which one should rather expect a diminuendo, not to mention a crescendo on one note, problematic to perform on the piano. Therefore, we are probably dealing with an inaccuracy or even a mistake. One can imagine two possibilities – the mark was misplaced (e.g. moved to the right with respect to the notation of [A]) or reversed. In the main text, we are inclined to agree with the first possibility due to a similarly distorted 
2. A reduction of this version would be contrary to the orchestral part, in which it is d2 that is featured in oboe I, clarinet I and violin I. The mistake was corrected already in 
