Issues : Corrections in A
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b. 309
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composition: Op. 21, Concerto in F minor, Mvt I
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In the 1st half of the bar the slur in the L.H. was corrected in A – it was most probably Chopin that added a new beginning to the original slur over the entire group of quavers, so that the corrected slur would start from the 2nd quaver. GE1 did not include this correction, whereas GE2 copied it also in the second slur in this bar. The absence of slurs in FE is a patent oversight, which was revised in EE, by providing with slurs the notes which were not marked staccato. The last version may be considered to be justified, yet due to a likely though unobvious inaccuracies in the notation of the articulation of the L.H. in bars 309-310, in the main text we leave the version of A. category imprint: Graphic ambiguousness; Differences between sources issues: EE revisions , Errors in FE , Inaccuracies in GE , Corrections in A , GE revisions |
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b. 309
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composition: Op. 21, Concerto in F minor, Mvt I
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The traces of erasure, visible in A, allow to read the original version of the 1st half of the bar, in which the last note was an a1. In this version, the 3rd and 4th quavers were written in the treble clef, in which the removed note was written; however, it is unknown whether the correction of the moment of the beginning of the slur is to be linked to the change of the last note. category imprint: Corrections & alterations; Source & stylistic information issues: Corrections in A , Accompaniment changes |
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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 |
minim in b. 310, independent from the deletion of the entire bars, so probably earlier. It was probably a rest, which would suggest that its absence in the final version could have been intentional. However, Chopin could have added a rest, since he was considering to change to a strictly two-part notation; then he realised that he would have to introduce more corrections and removed the rest with the intention of rewriting the whole L.H. part from scratch.