Issues : Corrections in A
b. 303
|
composition: Op. 31, Scherzo in B♭ minor
..
Both here and in b. 305 Chopin crossed out the marks in A and replaced them with double grace notes, like in b. 278 & 280. category imprint: Corrections & alterations; Source & stylistic information issues: Corrections in A , Deletions in A |
|
b. 307
|
composition: Op. 31, Scherzo in B♭ minor
..
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
..
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
..
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
..
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 |