mUltimate Chopin

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Issues : Authentic corrections of FE

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. 1-3

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

No fingering in A

Fingering in FE (→GE)

EE
..

Three digits defining the fingering of the first passages of the Etude (based on one finger arrangement) were added by Chopin in a proofreading of FE (→GE,EE). In EE, Fontana added to them a number of next ones, developing the composer's hints, specifying, e.g., the places of crossing under of the 1st finger.  

category imprint: Differences between sources

issues: EE revisions , Authentic corrections of FE

b. 1-4

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

No pedalling in A

Pedalling in FE (→EE,GE1→GE2)

GE3 (→GE4)

Our variant suggestion
..

The pedalling of these bars was added by Chopin during a proofreading of FE (→GE,EE). The editors have doubts whether the moment of the pedal's release in bar 4 was correctly marked (due to harmonic reasons). Therefore, we suggest to release the pedal slightly earlier. Most probably, the reviser of GE3 (→GE4) thought alike, moving the  mark at the end of bar 3.

category imprint: Interpretations within context; Differences between sources; Editorial revisions

issues: GE revisions , Authentic corrections of FE

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. 1

composition: Op. 10 No 10, Etude in A♭ major

 in A

No marking in FE (→GE,EE)
..

Omission of the  mark written in A may be considered as an ordinary error of the engraver of FE (→GE,EE). However, the consequence with which each mark indicating or strengthening the forte dynamics in the first 16 bars of the Etude (the first  appears together with the new key in bar 17) suggests a possibility of them being removed by Chopin or at least his acceptance of their absence. In this case in the main text we leave the version of editions without determining the starting level of dynamics for bars 1-8. Cf. notes to bars 8 and 16. 

category imprint: Differences between sources

issues: No initial dynamic marking , Authentic corrections of FE