Op. 2, Variations in B♭ major
Op. 10, 12 Etudes
Op. 11, Concerto in E minor
Op. 21, Concerto in F minor
Op. 22, Polonaise in E♭ major
Op. 24, 4 Mazurkas
Op. 25, 12 Etudes
Op. 26, 2 Polonaises
Op. 27, 2 Nocturnes
Op. 28, 24 Preludes
Op. 30, 4 Mazurkas
Op. 35, Sonata in B♭ minor
Op. 50, 3 Mazurkas
Op. 63, 3 Mazurkas
Op. 64, 3 Waltzes
Op. 25 No 12, Etude in C minor
In FC one can see deletions of dynamic indications – 
in bar 15 and 
in bar 17. It seems to prove a radical change of the dynamic concept of this fragment (probably until bar 23, in which there is 
), yet it is possible that Chopin only thought that it is not the only possible concept and he did not want to impose it upon the performers. Resignation from these indications can also be explained taking their placement as the starting point – both were written more or less under the 2nd beat of the bar, hence they could have referred to the extended passages, filling the sound of the accentuated notes opening the bars. The composer could have then assumed that such an evident attenuation is not necessary in order to achieve an effect of the phrase's continuity.
Compare the passage in the sources »
category imprint: Corrections & alterations; Source & stylistic information
issues: Authentic corrections of FC
notation: Verbal indications