CHASE

In this movement, Marteau adds several expressive fingerings not found in other editions. Here he keeps to D string sonority, with a portamento on the whole tone from A to G.

A typical instance of Marteau's wish, where possible, to maintain the tone-colour of a single string. The fingering implies several portamenti.

Bach's notation of a trill with C in the bass presents a problem of fingering. Marteau's elegant solution suggests a lightly touched bass note preceded by the trill's upper note.

Even though the chord necessitates a return to first position, Marteau fingers the previous high B flat on the A string. He repeats the sequence, again with an upward portamento, in the next bar.

Note that Marteau follows the original bowing in the first five bars (but see separate note to b. 4).

In the tradition of Hellmesberger, Marteau adds slurs to allow the string crossing to be accomplished more easily, using the wrist. The added slurs two bars later similarly make the string crossing easier.

This slur is wrongly transcribed. Bach slurs just the first three notes.