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Op. 11, Concerto in E minor, Mvt I

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b. 555

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

3 ​​​​​​​in FE (→GE,EE)

3 long accents suggested by the editors
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Three subsequent ​​​​​​​ marks are to be understood as long accents – cf. (short) accents in the previous analogous bars. In the main text, we give them such a form, probably consistent with the notation of [A]. 

category imprint: Interpretations within context

issues: Long accents

b. 555

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

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In the main text, we add a cautionary ​​​​​​​ before e3. The accidental was added in GE3. 

category imprint: Differences between sources; Editorial revisions

issues: GE revisions

b. 555

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

Fingering written into FEH

No teaching fingering
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category imprint: Differences between sources

issues: Annotations in teaching copies , Annotations in FEH

b. 556

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

Rhythm in FE (→EE) & GE3

Rhythm in GE1 (→GE2)
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In the version of GE1 (→GE2), the first 4 notes and rest constitute an unmarked semiquaver quintuplet. Nothing points to authenticity of that version, although it is practically very close to the actual performance – see the commentary to the Scherzo in C​​​​​​​ Minor, Op. 39, bar 47. The version of GE3 was probably introduced on the basis of analogy with similar bars of exposition. 

Like in bar 197, 199 and 201, in FE one can see traces of swapping rhythmic values of the 2nd and 3rd notes – initially, the 2nd note was a semiquaver, whereas the 3rd one – a demisemiquaver.  

category imprint: Differences between sources; Corrections & alterations; Source & stylistic information

issues: Errors in GE , GE revisions , Authentic corrections of FE , Inserted rest

b. 556-572

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

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