Issues : Deletions in A
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b. 334-349
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composition: Op. 31, Scherzo in B♭ minor
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In A Chopin wrote and crossed out 4 pairs of category imprint: Corrections & alterations; Source & stylistic information issues: Corrections in A , Deletions in A |
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b. 340-348
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composition: Op. 31, Scherzo in B♭ minor
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The crossings-out and additions visible in A in b. 340 & 348 allow us to reconstruct the original version of the passage in these bars: category imprint: Corrections & alterations; Source & stylistic information issues: Corrections in A , Deletions in A , Main-line changes |
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b. 395
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composition: Op. 31, Scherzo in B♭ minor
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In GE2 the top voice is written in normal font notes. It is probably a mistake or perhaps an erroneous revision. GE3 restored the authentic notation using small quavers. Interestingly, normal font notation was initially also in A. However, Chopin quickly changed the concept and crossed out the R.H. part so written still before adding the L.H. part. category imprint: Differences between sources; Corrections & alterations; Source & stylistic information issues: Corrections in A , Errors in GE , GE revisions , Deletions in A |
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b. 490-491
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composition: Op. 31, Scherzo in B♭ minor
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In A one can see in these bars 4 minor crossings-out. All concern cautionary accidentals that Chopin, after a moment of reflection, considered superfluous. The accidentals in the L.H. part – category imprint: Corrections & alterations; Source & stylistic information issues: Cautionary accidentals , Deletions in A |
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b. 492
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composition: Op. 31, Scherzo in B♭ minor
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In the main text we add a cautionary category imprint: Differences between sources; Editorial revisions issues: Annotations in teaching copies , GE revisions , Cautionary accidentals , Deletions in A , Annotations in FESf |
dynamic hairpins. Each of the marks was more or less 2 bars long. If the crossing-out was related to the addition of the leggiero indication, it would be a trace proving the change of concept of this fragment from a casually virtuoso one to a more delicate one, which would not disturb the lyrical, intimate mood of the previous C
minor section. 
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before c
before B in b. 491 – warn us not to play notes peculiar to the G minor key, which is going to be confirmed only just in the next bar.