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b. 621-640
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composition: Op. 11, Concerto in E minor, Mvt I
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In FE, in the majority of 24 bars of this section, the trilled crotchet is provided with an accent (in bars 621-625, 627-629, 631-634 and 636-637, 14 in total). The markings in the last 7 bars were most probably overlooked – these are the last two lines of text on a page. Taking into account the fact that an accent is undoubtedly one of the elements defining the characteristic and regularly repeated rhythmic scheme in this place, we consider also the three remaining oversights to be inaccuracies of notation and we add accents in all bars. The remaining editions added marks, but it was only GE3 that added them in all bars. See notes to bars 626-635, 638-640 and 641-644. Two out of the accents in FE are long (bar 624 and 629). A few can be interpreted as short or long (bar 625 and 633-637). The remaining seven are short, hence in the main text we unify the notation by giving short accents in all places. category imprint: Graphic ambiguousness; Differences between sources; Source & stylistic information |
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b. 621-640
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composition: Op. 11, Concerto in E minor, Mvt I category imprint: |
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b. 621
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composition: Op. 11, Concerto in E minor, Mvt I
category imprint: Differences between sources issues: EE revisions |
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b. 621-622
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composition: Op. 31, Scherzo in B♭ minor
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The missing category imprint: Differences between sources; Editorial revisions issues: GE revisions |
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b. 622-640
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composition: Op. 11, Concerto in E minor, Mvt I
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In the entire section (to bar 644), GE3 arbitrarily changed the authentic crotchets, opening the bar, to quavers with rests. This completely unjustified arbitrary decision could have been influenced by the rhythm in the previous bar. category imprint: Differences between sources issues: GE revisions |
in 
– are in all 11 analogous places. On the basis of an analysis of those marks (see 
