Issues : Deletions in A
b. 309
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composition: Op. 31, Scherzo in B♭ minor
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In A one can see that the last two crotchets in the bar were initially provided with stems pointing down. The change emphasised their affiliation to the top voice, despite the fact that the bottom one had not yet begun. It was only after that correction that Chopin changed the slurring concept. category imprint: Corrections & alterations; Source & stylistic information issues: Corrections in A , Deletions in A |
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b. 309-311
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composition: Op. 31, Scherzo in B♭ minor
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The deletions in A show the formation process of the slurring concept of this theme. Chopin started from the slurs encompassing only two crotchets in b. 309 and 311 (the slur in b. 309, led under the notes, suggests that he could have meant slurs reaching the 1st note of the next bar). However, eventually, he wrote a three-bar phrase marks. See also the note below. category imprint: Corrections & alterations; Source & stylistic information issues: Corrections in A , Deletions in A |
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b. 310-311
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composition: Op. 31, Scherzo in B♭ minor
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In both bars the L.H. part was eventually crossed out after a series of alterations and rewritten on an adjacent stave. In the deleted version, most probably identical with the final one in terms of pitch, the following are noteworthy:
category imprint: Corrections & alterations; Source & stylistic information issues: Corrections in A , Deletions in A |
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b. 332
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composition: Op. 31, Scherzo in B♭ minor
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Chopin deleted in A the mark filling the middle part of the bar. category imprint: Corrections & alterations; Source & stylistic information issues: Corrections in A , 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 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. category imprint: Corrections & alterations; Source & stylistic information issues: Corrections in A , Deletions in A |