The textual problems discussed here are only the tip of the iceberg. Many of these problems do not concern mere details but markedly affect all musical elements and expression. Thus, it is not enough to observe the markings in the score or to use historical instruments. We must carefully examine the authentic sources of a work in order to come closer to the intention of the composer and the spirit of these great compositions.
Bar 67, horn 3: In A and C, d2 (concert f1), an error. In the GA, this was changed to e2, but g1 is more authentic since it doubles horn 1 and also makes better voice- leading.
Bar 51, violin 2: Triplet c1, not f1, in the sources.
Bar 97, bassoon 2: Note 2 is incorrectly written as a in A, but is corrected to b in B and C (not g as in the GA).
Bar 179, Horn 3: Note 1 is f2 in A, not g2 as in C and the GA.
Bar 58, oboe 2: On beat 2, all sources have d2, but in the return of the Scherzo, bar 316, the note is b♭1. Since this change was made by Beethoven, it should be given in bar 58 as well.
Bar 111, horn 3: The note is e2 in A and C (not c2 as in the GA).
Bar 115, horn 2: The note is e1 here and in bar 373 in A, not g1 as in C, bar 373, and the GA.
Bar 25ga-60a, oboes: The notes are absent in the parallel passage bb. 197-8 and should be omitted.
Bar 341, horns 1, 2: In A, the horns enter in bar 341, as in the parallel passage in bar 83. But in B, C they enter in bar 340 beat 3, an apparent copying error taken over in C and the GA.____________________