mUltimate Chopin

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Issues : Corrections in A

b. 332

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

b. 334

composition: Op. 21, Concerto in F minor, Mvt III

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In A one can see a correction of the bottom note of the last crotchet in the L.H. Chopin initially wrote a b which he then reworked into a c1 and added names of both notes for the sake of clarity – c-g. According to us, it is probably a correction of an erroneously written version of the accompaniment (cf. bar 326) and not a change implying an improvement.

 

category imprint: Corrections & alterations

issues: Corrections in A

b. 334-349

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

b. 338

composition: Op. 2, Variations, complete

Notation in A

Notation in GE (→FE,EE)
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In A the division of the L.H. part into voices is irregular and at times difficult to implement in print. It seems to have resulted from introducing changes (not entirely thought out) to the notation of the first two quavers – Chopin probably started from one-part notation , out of which he then separated the two top voices on the 1st beat. In this situation, the simpler version of GE (→FE,EE) is to be considered an improvement, although it is uncertain whether it comes from Chopin. Anyways, the composer did not question it while correcting the last quaver in FE – see the next note.

category imprint: Differences between sources; Corrections & alterations; Source & stylistic information

issues: Inaccuracies in GE , Corrections in A , GE revisions

b. 340-348

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