mUltimate Chopin

Op. 31, Scherzo in B♭ minor

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Issues : Deletions in A

b. 307

composition: Op. 31, Scherzo in B♭ minor

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In A one can see the original crossed-out version of that crotchet, i.e. the G-d-b chord.

category imprint: Corrections & alterations; Source & stylistic information

issues: Corrections in A , Deletions in A , Accompaniment changes

b. 309

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

b. 309-311

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

b. 310-311

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:

  • Direction of the top voice crotchet stems. They are directed downwards, which means that Chopin opted for strictly two-part notation only when preparing the Scherzo for print. The starting point was the homogeneous movement of the crotchets while holding some notes to achieve a fuller sound ('harmonic legato'). See also b. 326-329.
  • Whole-bar slurs, not included in the final version.
  • A removed mark over the c 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.

category imprint: Corrections & alterations; Source & stylistic information

issues: Corrections in A , Deletions 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