University of Leeds

CHASE

CHASE

Manuscript Annotations

Page No. Note
3

This is Paul David's marking. It indicates that this was no 12 in one of the volumes of his father's music that were bound up after he inherited it.

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3

The staccato dots added by David. The only staccato marks in the autograph, however, occur in places like this, i.e. 1-plus-3 bowings, perhaps to indicate a swift, accented bow-stroke.

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3

The staccato dots are editorial.

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3

David adds this slur so as to bring the first note of the next bar on to a down bow.

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3

The tied A is not found in Bach's autograph. David's slur (E to D natural) brings this tied note on to a down bow.

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3

"N", for nut, in English, is more likely to be Paul David's marking. However, the previous "M" (mitte, middle) could be Ferdinand's.

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This slur, and the ones at the end of the next three bars, have been added by David so as to balance the bowing; the two separate notes can be played near the point of the bow.

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The figure 1 is characteristic of Paul David's handwriting; the majority of the pencil and crayon fingering are likely to have been added by him.

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David's long up-bow slur makes it easy for the violinist to make his crescendo, coming down to the heel (the same applies 2, 4, and 6, bars later). The next bar retains Bach's bowing; the violinist can play a swift stroke, followed by detached notes near the point. In the autograph m.s., Bach slurs the first three notes of every bar in this passage (except the one starting with G sharp - this may be an oversight).

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3

The initial slur is Bach's, the "tucked-in" bowing the editor's.

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3

Original slur retained in print. The pencil deletion of the slur, and of the 0 (open string) at the beginning of the bar, may represent a change of mind by David, or could be added by another hand.

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3

The added slur, and those in the subsequent three bars, brings the long notes alternately on to down and up bows, and so allows the semi-quavers to be taken alternately near the point and the heel. The pencilled down bow - possibly not put in by Paul David - appears to spoil the bowing pattern, arriving at the bar with the FF on an up bow.

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3

A 3-note slur omitted.

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3

Here David reverses Bach's bowing; the autograph has the F sharp and G sharp separate, with slurred pairs in the second half of the bar. The same applies four bars later.

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3

Added down-bow slur, to bring the next bar the "right way up".

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3

See note to line 3, bar 2.

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3

Here, and in the three following bars, Bach slurs the first three notes.

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3

A slightly puzzling added slur. It has the effect of making the tied A at the end of the next bar (not found in the autograph) a down bow, and it follows similar slurs earlier in the movement.

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4

Bach includes all these semi-quavers in a single slur. The same in the next phrase.

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4

The paired slurs are editorial (the same 2 and 4 bars later).

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4

This 1 seems more typical of Ferdinand David than Paul David, who generally wrote the number as above.

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4

Bach's bowing gives two 1+3 groups. David's bowing allows him to bow all four quaver in the previous bar broadly, and then travel towards the point for separate semi-quavers.

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5

These groups are slurred 2+1 by Bach.

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5

Fingering that implies a portamento from C to G.

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5

Bach separates the B at the end of the group (the same at the end of the bar). In general in this movement, David changes to a broader, smoother pattern of slurs, reflecting a typical contrast between eightenth and nineteenth century practice.

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5

Another fingering implying portamento.

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5

Here, for the sake of variety, David indicates separate bows where Bach has slurs (2+1). But the tenuto lines suggest he is anxious to keep to a broad, cantabile style.

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5

Here again, David adopts a broader bowing; Bach slurs only the notes within each group.

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5

The fingering shows a fourth-finger slide from E to the harmonic A. For the repeated A, the fingering suggests a stopped (non-harmonic) note, with a portamento down to D

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5

David's bowing here allows the violinist to use the whole bow, arriving at the heel for the important B flat at the start of the next bar.

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5

These three notes articulated within a single up bow allow David to approach nearer the heel, and so have more bow to emphasise the tied note in the middle of the bar.

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5

Bach's slurs follow the groups of three semi-quavers; by slurring accross the divisions, David compels the player to think of the phrase's overall shape.

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5

Here too, the cross-beat phrasing incourages a broad conception of the whole phrase. (Bach's bowings change every quaver).

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6

Another fingering that implies a portamento.

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6

Most modern performances end this movement quietly. David's suggestion is typical of his robust approach to performance. N.B. There is a autograph piano in the orchestral bass part at this point, but this is Bach's usual way of showing when the orchestra is accompanying a solo passage.

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6

Modern editions, e.g. the Neue Ausgabe sämlicher Werke (Bach)(Bärenreiter, 1986) interpret the autograph slurs as 2+1. David is following the phrasing indicated in the Dehn edition, also found in the 1875 Bach Gesellschaft.

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6

"Hooked in" bowing typical of nineteenth-century practice.

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6

Lower octave added by David.

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6

David organises the bowing so that the sforzandi he has added in the following bars can be taken as down bows.

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6

The pencil indication N ("nut" in English) is likely to be Paul David's.

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6

This figure 1 looks like Ferdinand David's handwriting, so the alterations in the bowing may also stem from him. The first finger in the next bar allows the following trill to be taken by the third finger, and also makes it possible to return to first position on the G sharp, which obviates any awkwardness caused by the augmented 5th interval (C to G sharp).

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6

The effect of the cross-beat slurs in this passage is to give the music a smoother, more continuous aspect allieviated by occasional separate bows. Bach's slurring - the quavers 2+1, and the semi-quavers slurred in groups of 4 - maintains a livelier, rhythmic feel.

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7

This printed fingering parallels the pencilled first finger earlier in the movement, and also has the motive of avoiding a 4th-finger trill.

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7

"GB" = Ganzer Bogen (whole bow); "Fr" = Frosch (nut). These annotations, in German are likely to be Ferdinand David's; the idea is that the A must be taken as a swift whole bow, so as to prepare for the long down bow, starting at the heel.

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7

Bach notated the grace notes as small quavers.

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7

The added sforzandi again demonstrate David's forceful approach. He arranges the bowing so that they all come on a down bow.

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7

These long, 9-note slurs occur alternately as down and up bows.

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7

The pencilled fingering (probably Paul David's) changes that in the print, to create a stronger effect as the crescendo gets under way.

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7

"GB" (whole bow), on account of the 6-note slur following, which will need a complete up bow.

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8

The pencilled fingerings, altering those in the print, are designed to avoid the weaker fourth finger.

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