Issues : Authentic corrections of FE
|
b. 20-22
|
composition: Op. 10 No 8, Etude in F major
..
The staccato dots at the beginning of bars 20 and 22 were added – most probably 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
..
Both dynamic indications in these bars were added by Chopin during a proofreading of FE (→GE,EE). The category imprint: Interpretations within context; Differences between sources issues: Authentic corrections of FE , Centrally placed marks |
||||||||
|
b. 25-28
|
composition: Op. 10 No 8, Etude in F major
..
Random fingering of A was completed in details by Chopin in a proofreading of FE (→GE,EE). In EE, Fontana added fingering indications also to the 2nd half of bar 27. category imprint: Differences between sources issues: EE revisions , Authentic corrections of FE |
||||||||
|
b. 28
|
composition: Op. 10 No 8, Etude in F major
..
The slur in the L.H. was added – probably by Chopin – in a proofreading of FE (→EE,GE1→GE2). The slur clearly indicates continuation in the next bar (on a new page), in which, however, there is no relevant mark. In EE, in which bars 28-29 are not separated, the slur was led to the beginning of bar 29. In turn, in GE3 (→GE4) the slur's range was limited to three semiquavers. category imprint: Interpretations within context; Differences between sources issues: GE revisions , Authentic corrections of FE |
||||||||
|
b. 29-30
|
composition: Op. 10 No 8, Etude in F major
category imprint: Differences between sources issues: Authentic corrections of FE |
in 
