mUltimate Chopin

Op. 10 No 8, Etude in F major

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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

b. 22

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

..

Under the f crotchet in FES there is a pencilled ambiguous mark, resembling .

category imprint: Differences between sources

issues: Annotations in teaching copies , Annotations in FES

b. 23-24

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

No marks in A (→FE→GE,EE)

Our suggestion
..

We suggest to add accents and dots over the chords in the L.H. after analogous bars 9-10.

category imprint: Editorial revisions

b. 25-28

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

Fingering in A

FE (→GE)

EE
..

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. 25

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

B & b2(1) in A (→FE→GE)

B & b2(1) in EE
..

Nothing indicates that three naturals raising B to B and b2(1) to b2(1), added in EE could be authentic. The reviser probably relied on bars 11-12.

category imprint: Differences between sources

issues: EE revisions