mUltimate Chopin

Op. 31, Scherzo in B♭ minor

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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. 309

composition: Op. 31, Scherzo in B♭ minor

Staccato dot in A

No mark in FC (→GE) & FE (→EE)
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The oversight of the staccato dot by the sources based directly on A is justified, to a certain extent, since the small sign is placed not only above the note, but also above the ending of the slur, so that one could have easily overlooked it. The fact that Chopin almost certainly meant a dot in this place is proven by analogous b. 411, in which a more distinct mark was noticed by the copyist.

category imprint: Differences between sources

issues: Errors in FE , Errors of FC

b. 310

composition: Op. 31, Scherzo in B♭ minor

Slur in A (→FC→GE)

No slur in FE (→EE)
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The slur under the 2nd and 3rd crotchets, the only one in the L.H. part in both appearances of the C minor theme (except for b. 325 and analog.), can be considered a model entry, to be applied in all similarly structured figures. However, according to us, it is more likely that the slur was left as an inconspicuous remnant of the quest for the most proper way of marking that accompaniment. The slurs are visible both in the original version of b. 310-311, deleted in A, and in analogous b. 412-415, where the four-bar phrase mark was also deleted. On the basis thereof, one can assume that Chopin eventually abandoned the idea of slurs in this part, satisfied with the legato indication, repeated a few times (in b. 326, 412 & 428). The absence of the slur in FE (→EE) is probably an oversight of the engraver, yet taking into account the above observations, this version can be considered equivalent. 

category imprint: Differences between sources

issues: Errors in FE

b. 310

composition: Op. 31, Scherzo in B♭ minor

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A (→FC,FE) is missing the rest opening the top voice. Since the second time (b. 412) Chopin did write a rest in an identical situation, we consider its absence here to be an oversight. The addition was performed already in GE and EE. See also the note below.

category imprint: Differences between sources; Editorial revisions

issues: EE revisions , GE revisions

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