This is a really tough one since the parts are so entwined all the way through. Alternatively you could start at the beginning and just end at the downbeat of 17.
(I have a great cut for the slow movement of the Mendelssohn, if you’re interested.)
Another possibility is downbeat of 16 to downbeat of 29. Both locations are in F major. You can clip also from 4th beat of bar 6 to fourth beat of bar 11. Both are key changes out of Bb major. Another cut is from the 3rd beat of 42 to the 3rd beat of 47. The second violinist would want to play the "A" right after the cut and octave higher. I've emailed a score with these cuts marked to Laurie.
The whole movement is 50 measures, I think, and my cut removes only 13. With the extra two smaller cuts it removes 23.
Another large cut is from 16 to 41. You'd want the first violinist to play the F in the first beat of 16 and cut to the 2nd beat of 41 (rests) while the second violin starts the theme at the downbeat of 41.
As Mary Ellen says, with a piece like this, you aren't going to find cuts that you're really going to like. Only that you might tolerate with your teeth clenched.
The largo in question here--also one of the type though less distinctly--is in cut time, i.e. the counting unit is a dotted quarter note. Don't count 8ths. It is a siciliano and should have a dance like lilt ins spite of all the slowness. If you play it in a way that the audience feels it that way you will be fine. And if you then measure with the metronome the number of dotted quarters per minute you will find yourself still in largo territory.
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