Op. 31, Scherzo in B♭ minor

FE1 is based on A and was twice proofread by Chopin, who, e.g. added a significant number of performance indications, partially compliant with the ones he had entered into FC. A copy of FE1 not including the last phase of proofreading served as Stichvorlage for EE.

FE1 was reissued already after the Schlesinger's company had been taken over by G. Brandus. The note text remained unchanged, yet the cover was modified and eventually completely changed:

• ca. 1853 the name and address of the publisher was changed to Brandus et C^ie Editeurs, 103, rue Richelieu and the price was increased to 9 francs;
• since 1860s, the edition had been provided with a collective cover Édition originale, Oeuvres complètes.

We refer to the copies with the above covers as FE2.

Below the unquestionable results of Chopin's proofreading:

• added pedalling in b. 65-116 and 697-707, 326-328 and 428-432, 448-459,
• change of c¹ to c¹ in b. 66,
• introduction of D at the beginning of b. 125, probably instead of D₁,
• addition of cresc. - - - in b. 109-113 and 528-539, 693-708, cresc. - - -  in b. 241-246, cresc. - - - in b. 528-540,
• addition of a tie of c² in b. 211-212 and 662-663,
• addition of sempre in b. 544.

Below examples of results of Chopin's proofreading not included in EE:

• change of the diatonic sequence to a chromatic one in b. 195,
• addition of a  raising d¹ to d¹ in b. 306, naturals raising a², a¹, a to a², a¹, a in b. 541-543,
• change of b² to a² in b. 450, f¹ to f² in b. 469, A₁ to B₁ in b. 588, b to c¹ in b. 686.

In the case of some deviations of FE from the text of A, it is difficult to say whether we are dealing with a revision of the editor or with Chopin's proofreading or even with a mistake (or inaccuracy), e.g.:

• addition of the L.H. slurs in b. 1-3,
• addition of the overlooked octave signs in b. 9, 14-17 and 31-33,
• addition of a  in b. 40, 209,
• addition of a staccato dot in b. 41, 351, change of the dot to a wedge in b. 129, addition of a L.H. wedge in b. 165,
• change of the double bar line to a single one in b. 48,
• omission of the dynamic indications in b. 350-358 and 452-457,
• addition of a tie of f in b. 392-393,
• change of the rhythm in b. 394,
• extension of the R.H. slur in b. 507-508, of the L.H. one in b. 531-532 and 535-536,
• addition of a  in b. 631.

Last but not least, there is a number of places that contain mistakes, certainly or highly likely, e.g.:

• missing ties of the R.H. chord in b. 6-7, of g in b. 273-274 and 294-295 and of d² in b. 656-657,
• missing staccato markings in b. 22, 46, 145, 161 and 169, 149 and 173, 249, 468 and 476, 482, 544, 573-576, 579-580, 731, 766 and 768 as well as in 780,
• tie of e² instead of d² in b. 73-74,
• missing L.H. slur in b. 95-96 and 227-228, 310, 382-383, missing slurs in b. 376-377 and 397-398, 502, 503-504, 533-534, 574-575,
• missing accent in b. 124, 493 and 548-551,  in b. 154 and 492,
• c instead of d in b. 142, b¹ instead of g¹ in b. 307, a³ instead of b³ in b. 707,
• erroneous slurs in b. 265-266 and overlooked tie of f in b. 266-267, erroneous slurs in b. 382-383, 395-397,
• normal font notes instead of small ones in b. 281-284, 307-309 and analog.,
• missing fingering digit in b. 293 and 395,
• missing  in b. 348-349,
• missing  asterisk in b. 445, 475, 527 and 542,
• missing  lowering c³ to c³ in b. 521,
• missing arpeggio wavy lines in b. 557, 559, 566 and 568,
• missing a² in the chord in b. 684,
• missing dashes marking the range of cresc. in b. 725-731.

FE replaced – after orchestral scores – the pairs of bars filled with rests with one double bar, with a two-bar rest.