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Manuscript Annotations

Page No.	Note
1	Fingered 3 0 in 4899.	View
1	Fingered 3 2 in 4899.	View
1	Not in 4899.	View
1	No upper slur on i-iv, but slur over v-ix replaces slur over ii-ix. The bowing here makes it more convenient to get back to the point of the bow for the festes staccato and matches the bowing in the following occurrences of the figure.	View
1	This bowing makes it clear that the staccato quavers at the beginning of st. 8/bb. 2 and 6 were envisaged as being played martelé near the point of the bow, with the three under the slur played somewhat more broadly to achieve the crescendo and moving sufficiently down the bow (but probably not far) to produce a sf down bow.	View
1	Not in 4899.	View
1	Not in 4899. See previous note.	View
1	Not in 4899.	View
1	Down-bow sign, partly obscured by pencil marking, not in 4899.	View
1	David's bowing in these bars indicates that he expected the semiquavers to be played with a very economical bow and kept un the upper half until the final notes of the crescendo.	View
1	Not in 4899.	View
1	The slur on the semiquaver run, ending on the last note of the bar in 4899, has been extended to the c''' here.	View
1	Not in 4899.	View
2	separate slurs in each bar in 4899.	View
2	Not in 4899, which has a slur from i to ii (with staccato mark on ii)	View
2	Not in 4899, which has a staccato mark.	View
2	Not in 4899, which has a staccato mark.	View
2	The reversal of the bowing here enables David to produce a typical sf in an up-bow near the point of the bow.	View
2	Not in 4899.	View
2	Not in 4899.	View
2	Here too David's revised bowing facilitates performance nearer to the point of the bow.	View
2	The slur ends at the barline in 4899.	View
2	Slur over notes not in 4899.	View
2	Down-bow in 4899.	View
2	Not in 4899.	View
2	Fingered 3 on i in 4899. No 1 on ii and vi.	View
3	For this and the following 4 bars see note to p. 2/st.1/bb. 1-5.	View
3	Not in 4899.	View
3	Fingered 2 1 in 4899.	View
3	Not in 4899.	View
3	See note to 28/7/1.	View
3	See note to 28/8/3.	View
3	Not in 4899.	View
3	Not in 4899.	View
3	For this and the following 4 bars see note to 29/1/1-5	View
3	Separate slurs over each bar in 4899.	View
3	Only to barline in 4899.	View
3	Slur only to barline in 4899.	View
3	In 4899 there is Π on i and staccato marks on all 6 notes. It seems likely that the Π was deleted erroneously by the engraver when removing the staccato marks. The removal of staccato marks here and in other forte passages of separately-bowed notes (see especially the first movement of op. 30/2)probably reflects David's concern that a full détaché bowing should be used here.	View
4	The instruction 2eme Corde in 4899 has been removed here, apparently redundantly, since the fingering makes performance on the A-string necessary; but perhaps the engraver only half carried out the change, forgetting to replace the 2 and 1 with an 0 on the first note of the figure, indicating performance on the E-string.	View
4	In 4899 no slur or V on iii, but V on iv.	View
4	Not in 4899.	View
4	Fingered 4 3 3 in 4899.	View
4	Π on i and slur over ii-iii in 4899.	View
6	No slurs on i-iv and v-vi in 4899.	View
6	No slurs on i-iv and v-vi in 4899.	View
6	A backward extension of the 1st finger is evidently intended here.	View
6	Not in 4899.	View
6	Not in 4899.	View
6	Not in 4899.	View
6	Fingered 2 in 4899.	View
6	Not in 4899.	View
6	Fingered 2 in 4899.	View
6	No 2 on c', but 2 on d' in 4899.	View
6	Fingered 3 in 4899.	View
6	Not in 4899.	View
6	Fingered 1 in 4899.	View
7	See note to 32/6/9-11	View
7	Not in 4899.	View
7	No bowing signs in 4899.	View
7	In 4899 the a'' is fingered 1, the d''' 2 and the g#'' 2. The removal of these fingerings suggests that David may have envisaged playing the whole of the passage from the eb''' 4 bars earlier in 5th position.	View
7	See notes to 33/1-4	View
8	Fingereing not in 4899.	View
8	No V and fingered 3 in 4899.	View
8	Fingered 2 3 in 4899.	View
8	Not in 4899.	View
8	Both notes marked Π in 4899.	View
8	Π in 4899.	View
8	Π in 4899.	View
8	Upper slur not in 4899.	View
8	Π in 4899.	View
8	Not in 4899.	View