The literally reproduced notation of FE must be considered inaccurate if the rhythmic values in the 2nd half of the bar are correct (we omit the issue of the f
1 crotchet on the 3rd beat of the bar, discussed separately, which is irrelevant in this place). Due to this reason, in the main text we move the b1 quaver before the final semiquaver of the piano reduction; both GE and EE changed the notation in the same way. On the other hand, one can imagine a situation in which it is the layout of the text that reflects the intended relationship between the solo part and the accompaniment, i.e. a simultaneous performance of the last note in the bar in all parts, and it is the rhythm in the upper voice that is incorrect. It leads to the version suggested as an alternative interpretation of the notation of FE.
Considering the solo part with the FEorch orchestral part, hence while performing the Concerto with orchestra, the aforementioned simultaneity relationship also occurs, since in the parts of string instruments – violins and cellos – the note ending the bar is a quaver: 
. It leads to the last of the suggested versions in which the correct elements of the notation of FE are a quaver in the solo part and alignment of the notes, whereas the dotted rhythm in the two bottom voices is incorrect.
category imprint: Differences between sources
issues: EE revisions, Inaccuracies in FE, GE revisions
notation: Rhythm