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Verbal indications

b. 1

composition: Op. 43, Tarantella

FC3 (→FEIE)

A, GE

..

In A and GE  there are no dynamic markings at the beginning of the piece. In FC3 (→FE IE)  mark was introduced at the beginning of b.1; there's no reason to question its authenticity. Based on EE in the main text we present the marking in upbeat variant.

category imprint: Interpretations within context; Differences between sources

issues: No initial dynamic marking

b. 32

composition: Op. 43, Tarantella

A, FC3 (→FE1IE), EE, GE

..

The  marking in FED is penciled in and must have come from Chopin, similarly in b. 48.

category imprint: Differences between sources; Corrections & alterations

issues: Annotations in teaching copies , Annotations in FED , Authentic post-publication changes and variants

b. 48

composition: Op. 43, Tarantella

AFC3 (→FE1IE), EE, GE

..

In FED  is penciled in and most certainly it was done by Chopin himself. 

category imprint: Differences between sources; Corrections & alterations

issues: Annotations in teaching copies , Annotations in FED , Authentic post-publication changes and variants

b. 68

composition: Op. 43, Tarantella

A, GE

FC3 (→FEIE)

No marking in EE

..

In sources the dynamic marking appears on the first beat of the bar in A and GE, on the second beat in FC3 (→FEIE) or is missing as in (EE)  most probably as a result of imprecise notation [FC].

category imprint: Differences between sources

issues: EE inaccuracies , Inaccuracies in FC

b. 76

composition: Op. 43, Tarantella

No marking in AFC3 (→FEIE)

Marking in GE, EE

Our proposed variant

..

There is no bracketed marking in A. It may have been added by Chopin in the lost copies but it may have also been arbitrarily added by the reviser. The  marking only appears in EE and GE.

category imprint: Differences between sources

issues: EE revisions , Corrections in A , GE revisions