CHASE

Manuscript Annotations

Page No.	Note
3	David's a♭' avoids the original's f. Since David retains the original key, there are many cases where he alters notes to remain within the violin's range. Unless of interest for other reasons, other examples will not be highlighted.	View
3	Beethoven's c should be an octave higher here - David has reverted to c' as being the pitch in the cello version, rather than retain the whole line an octave higher.	View
3	Reverting to the cello's pitch, rather than retaining the shape of the phrase with *e♭''.	View
3	This passage, and the following bar, extensively altered. See the original.	View
3	Original has a sustained chord here (G - e) - David is offering a realisation of the original's arpegg. marking (omitted in Grützmacher's first edition).	View
3	C here, since the original (f a b, rhythm as i nthe following bar) cannot be accomodated on the violin.	View
3	Forward repeat sign missing.	View
3	Upper note only from original double-stop *c - a.	View
3	Both fingerings imply same-finger shifts.	View
4	An almost comical replacement for Beethoven's open C string.	View
4	David replaces Beethoven scale in 1/8 notes with this passage in broken octaves.	View
5	ff added: orig p.	View
5	Original: slur ends on last note of previous bar (d).	View
6	beethoven's scale in 1/8 notes is replaced with broken octaves.	View
7	Chords here and in the following bars including the pause bar are added by David; Beethoven gives single notes.	View
7	Presumably a same-finger shift.	View
7	All chords here are added.	View
8	Chords added.	View
8	David rewrites Beethoven's chord here - original has 5th, G♭-D♭.	View
9	Orig: 5th, D♭-A♭.	View
9	Original: b♭-g (not c). The reason for this change is unclear.	View
10	This passage completely rewritten - see original notes.	View
10	Orig: f♯. Reason for change unclear.	View