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b. 306

composition: Op. 31, Scherzo in B♭ minor

..

In A the  before the middle note of the L.H. chord is placed clearly too low, which in this case could have been due to the intention of avoiding collision with the bar line. Fontana correctly interpreted the meaning of that mark in FC (→GE); however, in FE the sharp was initially ascribed to the bottom note of the chord, g. That erroneous version got to EE1 and was then corrected through the addition of a proper  both in the last phase of proofreading of FE and in EE2 (→EE3).

category imprint: Differences between sources; Source & stylistic information

issues: EE revisions , Errors in EE , Cautionary accidentals , FE revisions , Accidental below/above the note

b. 306

composition: Op. 31, Scherzo in B♭ minor

Arpeggio sign in A

No sign in FC (→GE) & FE (→EE)
..

The missing arpeggio must be an oversight of the copyist and the engraver of FE: the mark in A is inconspicuous, since it is atypically placed between the accidentals, and not notes.

category imprint: Differences between sources

issues: Errors in FE , Errors of FC

b. 306-307

composition: Op. 2, Variations, complete

..

In the sources the L.H. octaves are written down in an abridged manner – under the line of their top notes, a con 8va indication or its equivalent is placed:

We reproduce this notation, not very exact, only in the graphic transcription – we leave the determination of whether the indication applies only to the sequence of the bass voice and not to the bottom notes of the R.H. part to the judgement of the performer.

category imprint: Editorial revisions

issues: Abbreviated octaves' notation

b. 306-307

composition: Op. 2, Variations, complete

cre - scen - do in A

cresc. in GE (→FE,EE)
..

In the main text we roughly reproduce the notation of A, in which crescendo is written out as a full word, divided between two bars (without dashes). The part of the indication falling on bar 307 was left out in the editions, probably due to the transition to a new page (both in A and in the editions), which, however, does not generally influence its meaning, yet it is less suggestive.
The editions also left out the  hairpin – see bar 112.

category imprint: Differences between sources

issues: Errors in GE , GE revisions

b. 306

composition: Op. 2, Variations, complete

 on first chord in A

after first chord in GE (→FE,EE)
..

It is uncertain what led to the difference in the position of the  indication. It is unlikely that we could be dealing with Chopinesque proofreading of GE1; moreover, there are no traces of the indication having been moved in print. However, the interpretation of this mark makes us consider the version of the editions to be more accurate. In A the mark is also written in the solo part, although repeating it only for its last chord does not seem intentional. Therefore, according to Chopin,  must have referred to the connecting passage marked as Tutti as well, which is confirmed by the full version of the Variations – the orchestral Tutti starts already at the beginning of the bar, whereby  marks are written in the parts of wind instruments at the beginning of the bar, and in the ones of string instruments – on the 2nd quaver. When copying  probably from the parts of the wind group, Chopin did not notice a possible ambiguity resulting from the lack of synchronisation of this indication with the beginning of the Tutti, which in the version for one piano is marked only just on the 2nd quaver in the bar. 

category imprint: Differences between sources

issues: GE revisions , Authentic corrections of GE