In A the L.H. part was corrected by Chopin, most probably a few times – after having introduced corrections into the initially written text, Chopin crossed out the whole and rewrote it on a stave below. The starting point were undoubtedly two identical figures, since in the crossed-out version, the second was marked in an abridged manner as repetition of the first. Chopin started then changing the 2nd semiquaver – one can see there d
and B, placed on the same stem, but slightly smaller and darker. In addition, one can see a spot under the 
raising d to d; the spot looks like a removed (crossed) B note. It suggests that three versions were being tested – with d, B and a B-d third as the 2nd semiquaver of both figures:
, 
, 
.
(NB. In A there is not a single 
raising B
and b to B and b here, also in the final version).
It is unclear what the order of the versions was. However, taking into account the gaps between the notes, the separate B note having been crossed out and the differences in the size and colour saturation of the noteheads (which indicates that they were written at different times – it particularly concerns d an B placed on one stem), we consider the order given above to be likely.
Interestingly enough, in analogous b. 34 Chopin wrote only one version without a second thought; it corresponds to the second of the ones presented above. It implies that the order of the first two versions could have been reversed in the discussed bar – first the version with B, then with d and the third. However, it is less likely due to the gaps between the notes.
Compare the passage in the sources »
category imprint: Corrections & alterations; Source & stylistic information
issues: Corrections in A, Deletions in A, Accompaniment changes
notation: Pitch