Pitch
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b. 251
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composition: Op. 11, Concerto in E minor, Mvt I
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There is no indication that the version of GE could be possibly authentic – a comparison with analogous bars 227, 235 and 586 proves that it must be an example of a Terzverschreibung error. category imprint: Differences between sources issues: Errors in GE , Terzverschreibung error |
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b. 266-271
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composition: Op. 11, Concerto in E minor, Mvt I
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Fontana's fingering in bars 266-268 and 270-271 draws attention to combining legato the second bass motifs at the transitions between the bars. category imprint: Differences between sources issues: EE revisions |
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b. 270
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composition: Op. 11, Concerto in E minor, Mvt I
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In the main text, we add a cautionary category imprint: Differences between sources; Editorial revisions issues: GE revisions |
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b. 272
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composition: Op. 11, Concerto in E minor, Mvt I
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In GE1 (→GE2), there is no category imprint: Interpretations within context; Differences between sources issues: GE revisions , Omission of current key accidentals , Authentic corrections of FE , Errors repeated in GE |
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b. 278-279
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composition: Op. 11, Concerto in E minor, Mvt I
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In both bars, FE (→EE,GE1→GE2) feature a cautionary (?) category imprint: Differences between sources; Editorial revisions issues: GE revisions , Cautionary accidentals , Last key signature sign |
in 
before B. The mark was added already in 
, not to mention the tied g in violin II. It was most probably [A] that was the source of the mistake, since the