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b. 345-346
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composition: Op. 21, Concerto in F minor, Mvt III
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This is the last bar on a page in A, which contributes to the uncertainty concerning the range of the slur started on the 2nd beat of the bar – the overpulled ending of the slur suggests continuation in the next bar; however, on a new page, in bar 346, there are no slurs. In GE (→FE→EE), the slur was led to the 1st chord in bar 346, which is almost certainly an accurate interpretation – cf. the slurring of the part of violin I in Morch as well as analogous bars 21-22. category imprint: Graphic ambiguousness; Differences between sources issues: Inaccurate slurs in A , GE revisions |
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b. 345
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composition: Op. 21, Concerto in F minor, Mvt III
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A has an f1 as the most bottom note of the chord on the 3rd beat of the bar. The mistake was almost certainly committed at the time of writing this fragment in bold type (see the characterization of A) and did not pass to the editions, which suggests that the text was set in bold type already after GE1 had been finished. category imprint: Differences between sources issues: Errors of A |
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b. 345
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composition: Op. 11, Concerto in E minor, Mvt III
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GE1 (→GE2) is missing the cautionary category imprint: Differences between sources issues: GE revisions , Cautionary accidentals , Authentic corrections of FE |
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b. 345-346
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composition: Op. 11, Concerto in E minor, Mvt III
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GE is missing the dashes marking the range of diminuendo. It is probably an oversight of the engraver. category imprint: Differences between sources issues: Inaccuracies in GE |
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b. 345-346
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composition: Op. 2, Variations, complete
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In both bars wedges instead of dots must have resulted from an ad hoc revision by the engraver of GE1, who unified these marks in the entire finale of the Variations. category imprint: Differences between sources issues: GE revisions , Wedges |
before b2. It may indicate that the accidental was added only just in the last phase of proofreading of 
