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Op. 10 No 8, Etude in F major

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b. 1

composition: Op. 10 No 8, Etude in F major

in A

in FE (→GE,EE)
..

While proofreading FE (→GE,EE), Chopin slightly reduced the Etude's tempo. Cf. changes of a similar nature in the Etudes in F minor, No. 9 and in A, No. 10.

category imprint: Differences between sources

issues: Metronome tempos , Authentic corrections of FE

b. 1

composition: Op. 10 No 8, Etude in F major

in A

in FE1

in FE2

in GE

in EE3

in EE4
..

In the main text we give the title and dedication in the undoubtedly authentic version adopted in FE. The extensions of both the title (in GE and EE) and dedication (in EE) most probably come from the editors. See the Etude in C major, No. 1, bar 1.

category imprint: Differences between sources

issues: EE revisions , Errors in FE , Dedications , GE revisions

b. 1

composition: Op. 10 No 8, Etude in F major

No indication in A

in FE (→GE,EE)
..

Chopin added veloce while proofreading FE (→GE,EE). Cf. bar 8-13.

category imprint: Differences between sources

issues: No initial dynamic marking , Authentic corrections of FE

b. 8-13

composition: Op. 10 No 8, Etude in F major

No indications in A

cresc. &  in FE (→GE,EE)
..

Dynamic indications in bars 8-9 and 13 were added by Chopin in a proofreading of FE (→GE,EE).

category imprint: Differences between sources

issues: Authentic corrections of FE

b. 22-23

composition: Op. 10 No 8, Etude in F major

No markings in A

 in FE (→GE,EE)

Our suggestion
..

Both dynamic indications in these bars were added by Chopin during a proofreading of FE (→GE,EE). The  mark was placed at the beginning of the 2nd crotchet in bar 23, which is either a mistake (cf. bar 9) or an example of a notation's convention, sometimes used by Chopin, according to which the mark is not placed at the beginning, yet in the middle of its range of validity (cf. the Etude in C major, No. 1, bar 45).

category imprint: Interpretations within context; Differences between sources

issues: Authentic corrections of FE , Centrally placed marks