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b. 66
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composition: Op. 11, Concerto in E minor, Mvt III
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A cautionary natural before b2 is featured only in FE and EE2 (→EE3). Its absence in GE may mean that it was added in the last phase of proofreading of FE. In turn, EE1 most probably overlooked it, which was amended in the next impression. category imprint: issues: EE revisions , Errors in EE , Cautionary accidentals , Authentic corrections of FE |
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b. 67
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composition: Op. 11, Concerto in E minor, Mvt III
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In the main text, we shorten the a crotchet to a quaver, in accordance with the notation of that place in analogous bar 295. The return of that fragment of the main theme seems to be written more carefully – cf. the previous note. However, a longer hold of that note does not negatively influence the sound – the bass note on the 2nd quaver of the bar is provided by cellos, whereas g category imprint: Editorial revisions |
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b. 68-70
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composition: Op. 11, Concerto in E minor, Mvt III
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The staccato dots over the quavers in the R.H. in the second halves of these bars are an arbitrary revision of GE3. category imprint: Differences between sources issues: GE revisions |
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b. 68-70
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composition: Op. 11, Concerto in E minor, Mvt III
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In bars 68 and 70, GE3 arbitrarily provided the first two quavers in the R.H. with slurs. It is a part of a large-scale revision of performance indications in this Tutti. category imprint: Differences between sources issues: GE revisions |
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b. 68-70
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composition: Op. 11, Concerto in E minor, Mvt III
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According to us, the dynamic markings in bars 68 and 70, although of clearly different lengths in the sources, are to be interpreted in the same way due to the affinity of those bars. It is the long accent that was sometimes reproduced in a similar manner; we give such accents in the main text. category imprint: Interpretations within context; Differences between sources issues: Long accents , Inaccuracies in GE |
in violas may be considered the resolution of the a seventh. 
in #