CHASE

This staccato dot, and other similar ones, are editorial (but stylistically appropriate).

Joachim/Moser follows Hermann in slurring these groups

This striking bowing also follows Hermann.

This split down bow makes possible a lifted up bow in the next bar. Hermann, in a parallel passage, slurs the second and third motes in order to achieve the same end.

Unlike Hermann, Joachim/Moser makes it clear that the bow is to be re-taken.

Bach's slurs, over the first three notes of each group, have been deleted.

Only the first slur, in this and the following two bars, is Bach's. The editorial slur over the last three notes allows the player to recover the bow, and follows on naturally from the slurs in the previous bars.

Continues the up bow staccato motif from bars 7-8. It's a neat way, too, of moving up the bow.

Bach writes no slurs in this bar. This bowing has the merit of pointing the phrasing, but in a typically nineteenth-century way.

The semiquaver is tucked in, as in Hermann's and David's editions.

Editorial slur, to make the string crossing at the end of the bar easier. The similar slur in the next bar returns the bow to its "natural" direction.

"Tucked in" bowings, to bring the tied crotchets alternately on down and up bows, and thus allow the whole bow to be used without suddenly re-taking.

The up bow staccato allows the violinist to recover the bow in order to play the Bachian slurs at the start of each bar, without needing to employ the baroque technique of moving to bow swiftly and lightly towards the heel.

Added slurs, as in bar 3.

Following Hermann, the slurs in this and subsequent similar bars facilitate string crossing, allowing the violinist to use his/her wrist.

Fourth finger implies an expressive portamento.

Joachim/Moser gives the bowing from the autograph manuscript on top, and underneath an editorial suggestion, reflecting preference for a less actively articulated style.

Bach's staccato changed to a line, suggesting a smooth, near-legato style of performance.

The slurs appear in the Bach Gesellschaft edition, but not in Bach's autograph.

This phrase is given a particularly expressive fingering, reserving the E string for the higher passage in the next two bars, and with portamenti up to the F during beat two, down from B flat to E, and up again the the A harmonic at the end of the bar.

Joachim/Moser retains the original bowings, but accomplished by changing bow-direction only at the start of each triplet group.

At this point, Joachim/Moser shows a desire to avoid the regularity of the autograph bowing.

Fingered on the G string for sonorous effect.

Modern performers generally play this last phrase quietly (the basso dontinuo is marked piano for the final two barss). Joachim/Moser imagines a conclusion with fuller tone.

Like the other editors, Joachim/Moser puts this group in one bow; the tenuto line over the crotchet, emphasising that the note is not to be shortened.

Unlike Alard's bowing, these bars begin on a down bow.

Two notes taken with separate bows, to bring the first beat of the next bar onto a down bow.

As with Alard, this and the following bar reverse the bow direction of the two previous bars.

Move to the second position resulta in the following trill being made with the third, rather than the fourth finger, and neatly enables the augmented fifth (C to G sharp) to be taken by different fingers.

Bowing, as in Hermann's edition, to allow each bar to start with a down bow.

Like Hermann, Joachim/Moser gives the Bach Gesellschaft slurs as well as a broader alternative designed to make full use of the length of the bow.

As in the parallel passage above, this move to the second position is to avoid a fourth-finger trill.

Bach's quaver appogiatur conferted into a crushed grace-note. (The same in the next bar.)

Like Hermann, Joachim/Moser arranges for the held notes to be taken alternately with down and up bows.

Joachim/Moser follows the bowing indicated in the Bach Gesellschaft edition - also 2, 4, 6, and 8 bars later.

Bowing arranged so that these groups can be played near the heel.

Broader bowing, under the notes, indicated, together with the original articulation, as in the Hermann edition.

Here too, and in the following four bars, the urtext is indicated (above) together with a suggested smoother articulation.