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b. 100

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

Dashes in FE (→EE)

Dashes in GE

Dashes suggested by the editors

..

Leading the dashes marking the range of smorz. only to the 2nd beat of the bar must be considered an inaccuracy – the indication is almost certainly to be valid until rallent. – just like in GE – or until the end of the bar, which we suggest in the main text.

category imprint: Differences between sources; Editorial revisions

issues: GE revisions

b. 100

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

Staccato dots in FE (→EE) & GE3

No marks in GE1 (→GE2)

..

The missing staccato dots in the R.H. part in GE1 (→GE2) are a patent oversight of the engraver, completed in GE3. It is probably the response of oversight of dots, which occurred in FE in the next bar – in both editions, dots were overlooked in the bar ending a line of text (101 in FE, 100 in GE). 

category imprint: Differences between sources

issues: Errors in GE

b. 100-103

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

No marks in FE (→EE,GE1GE2)

Staccato dots in GE3

..

In GE3, all semiquavers were provided with staccato dots. It is a part of a large-scale arbitrary revision of performance indications in this Tutti. Similarly in bars 328-331.

category imprint: Differences between sources

issues: GE revisions

b. 100-101

composition: Op. 31, Scherzo in B♭ minor

a2 repeated in A (→FE,FCGE)

a2 tied in EE

..

The tie of a2 present in EE also between b. 100-101 was almost certainly added as a result of revision.

category imprint: Differences between sources

issues: EE revisions

b. 100

composition: Op. 22, Andante spianato

f1 in FE (→EE,GE1GE2)

a1 in GE3

..

Just like in analogous b. 56, the change in GE3 is both arbitrary and unjustified.

category imprint: Differences between sources

issues: GE revisions