Issues : Corrections in A
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b. 756
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composition: Op. 31, Scherzo in B♭ minor
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A initially contained the word ben, which Chopin then deleted, written before the indication marcato. As a result, in FC (→GE1) marcato begins around the 3rd crotchet in b. 756, which may suggest that it is valid only just from this note. In FE (→EE), due to the transition into a new line, the indication was moved to b. 757. In the main text we place it in the starting point of the original indication ben marcato. Such a solution was introduced also in GE2 (→GE3). There is a visible deletion of a hardly legible indication under the R.H. part. The last word is probably forza. See also b. 756-761. category imprint: Interpretations within context; Differences between sources; Corrections & alterations issues: Inaccuracies in FE , Corrections in A , GE revisions , Deletions in A |
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b. 756-757
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composition: Op. 31, Scherzo in B♭ minor
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In A Chopin deleted the slurs over the three-note motifs, beginning on the 2nd beat of b. 756, 757, 760 and 761. It could have been related to the addition of the indication marcato. category imprint: Corrections & alterations; Source & stylistic information issues: Corrections in A , Deletions in A |
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b. 764-766
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composition: Op. 31, Scherzo in B♭ minor
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In A there are visible corrections of the L.H. slurring: in b. 764 it was probably the slur over the 2nd and 3rd crotchets that was deleted, whereas the slur in b. 765-766 was shortened by deleting its ending, reaching the D category imprint: Corrections & alterations; Source & stylistic information issues: Corrections in A , Deletions in A |
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b. 764
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composition: Op. 31, Scherzo in B♭ minor
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In A one can see traces of dilemmas concerning an indication – most probably related to the tempo – marking the performance manner of the next 8 bars. The deletions are quite careful, so we only managed to decipher the word sempre before the final piu mosso. The original indication could have been accellerando (with erroneous second 'l', like in a number of other works by Chopin, e.g. in the Impromptu in A category imprint: Corrections & alterations; Source & stylistic information issues: Corrections in A , Deletions in A |
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b. 780
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composition: Op. 31, Scherzo in B♭ minor
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In A it is unclear which kind of staccato marks (in both hands) Chopin meant. In the original, deleted version of that bar they were dots; however, in the final version the marks are clearly prolonged (vertically), particularly in the R.H. The absence of those marks in FE (→EE) is probably a result of misunderstanding A: the mark over the R.H. minim could have been considered a part of the fermata, which, in turn, could have influenced the omission of the L.H. mark. It is difficult to say what the motivation of GE2 (→GE3) to omit the dots visible in GE1 was. Perhaps they were considered contrary to the extending dots and fermatas. Chopin must have considered the extraction manner of sound to be independent from the length of its echo – regulated with pedal – and nothing indicates that he would have wanted to abandon emphasising the triumphal gesture ending the Scherzo with staccato marks. category imprint: Graphic ambiguousness; Differences between sources; Source & stylistic information issues: Errors in FE , Corrections in A , Errors resulting from corrections , GE revisions , Wedges , Inaccuracies in FC , Inaccuracies in A |
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