CHASE

Manuscript Annotations

Page No.	Note
2	From David's short bowings here, and the performance of the 1/16ths with separate bows(they were slurred by Schubert and appear thus in David's published edition), it seems that he has interpreted Allegro assai as indicating a tempo slower than the normal allegro, which is certainly the case with some composers, whereas Schubert's use of the term seems to be for a tempo faster than the normal allegro (see Clive Brown Classical and Romantic Performing Practice p. 370.	View
2	The fingering as well as the dynamics differ from David's published edition here.	View
2	fp in David's edition.	View
2	Dynamics appear to have been scrubbed out here: apparently a diminuendo hairpin under the 3rd bar on the stave and pp under the b.	View
2	There is a long slur here, divided once, in the edition. In the following bars, up to stave 8, the edition also contains longer slurs.	View
2	Here and in the whole of the passage occupying the next 3 staves, as well as at the repetition of the same material later, David has employed much shorter bowings than in his published edition.	View
2	Three fingerings appear to have been scratched out here: 2 - 2 - 4.	View
2	slur deleted	View
2	slur deleted	View
2	slur deleted	View
2	slur deleted	View
2	David originally wrote this passage as in the original, with flats, but then pasted this enharmonic version over the top. This was obviously done before he wrote the next stave, since the enharmonic alteration continues for several more bars. This and similar passages throughout the movement are played mostly with separate bows, whereas they are slurred in David's edition.	View
3	The edition has a 2-bar slur and there are also longer slurs in the following bars. The edition also has a diminuendo hairpin in the second bar.	View
3	Different from edition.	View
3	pp with no > in the edition.	View
3	David's intention originally seems to have been to finger the passage 4-3-3, but with the change of the first note to a harmonic this may have been played 4-4-3. In the edition he appears to have changed his mind again, retaining 1st position until the f# 2 bars later.	View
3	Apparently tempo in blue crayon deleted here.	View
3	A diminuendo hairpin has been deleted here, although dim. appears one bar earlier in David's edition.	View
3	Slurring altered here.	View
3	This seems originally to have been fp followed by a crescendo hairpin.	View
3	This seems originally to have been fp followed by a crescendo hairpin.	View
3	In David's edition this is marked as a harmonic.	View
3	There was previously a blue crayon crescendo hairpin through these two bars.	View
3	No dynamic here in edition.	View
3	A < seems to have been deleted here.	View
3	The change, with the word 'umwenden' (turn) facilitates the page turn.	View
4	David again has shorter slurs than in the edition here (as on the next stave), and he marks separates bows for the last three notes, which are included in the slur in the edition.	View
4	mf here and 8 bars later in the edition.	View
4	The tempo markings are not in the edition.	View
4	All in a single slur without dynamics in the edition. The fingering with the harmonic is evidently a later addition, leaving the intended fingering in the following bar uncertain.	View
4	This is a much more expressive fingering than in David's published edition.	View
4	An ink slur has been scratched out here.	View
4	An ink slur has been scratched out here.	View
4	An ink slur has been scratched out here.	View
4	An ink slur has been scratched out here.	View
4	An fingering has been scratched out here.	View
5	The ring of the harmonic facilitates the transition from E- to G-string, but it is not indicated in David's edition.	View
5	tranquillo, not in the edition.	View
5	Probably ink > scratched out.	View
5	tempo originally written here.	View
5	Probably ink > scratched out.	View
5	Something scratched out here, perhaps a 4.	View
5	Probably a crescendo hairpin scratched out, leading to the ink ff in the following bar, which is evidently intended to be superseded by the blue crayon pp (Schubert's dynamic).	View
5	This curious re-notation ensures that after the scrubbed bowing, which he will have executed near the point of the bow, David can play the ff a''' on an up-bow.	View