CHASE

Two different pencils have been used for these performance markings here and throughout this movement. The first is a lighter grey than the second, which seems to have been used merely to make the markings easier to read.A few of the lighter markings remain uncovered.

This should be a dotted 16th rest followed by a 64th, as in vl 2 and va, but those two parts have been altered to correspond with the misprint in vl 1. David also 'corrected' the apparently erroneous dot 6 bars later.

Black ink seems to have been used to emphasise these markings and some on the next stave.

This 'correction' has also been made in vl 2 and va.

The bowing has been changed from down to up here.

This appears previously to have started up-bow and been slurred over 2 bars.

Successive down-bows evidently to be played close to the heel of the bow.

Here and on the next stave slur markings have been scratched out. David tried several different patterns of bowing before deciding to play the passage with separate bows.

The blue crayon seems to precede the final separately bowed version, with up-bows on the strong beats and, though not deleted, the slur does not seem to be intended to stand.

Pencil staccato marks and slurs have been deleted here, though not very efficiently.

At one stage the repeat was deleted, but then reinstated.

The fingering here suggests that David was reminding himself to keep the 1st finger as well as the 4th finger down, presumably so that the hand effectively moved firmly from 7th to 6th position. Similar printed fingering occurs in his edition of Beethoven's String Quartets.

At one stage David evidently intended playing this passage with a succession of consecutive 1st fingers. His final intention for fingering remains unclear, although the descending 1st fingers appear to follow a deleted move to a 3rd finger on the A flat.

This and the similar deletion 2 bars later appears to be of a 3.

A down-bow sign appears to have been scratched out here.

As on the previous page the indication of both 1 and 4 here and in the next bar seems to relate to moving the whole hand from one position to another rather than extending the finger. This was probably to provide greater firmness and more secure intonation.

As in the earlier appearance of this passage many slurs have been scratched out.

An up-bow sign has been scratched out here.

Slurs across the beat have been delteted.

Probably ff scratched out here.

An up-bow sign and slur (perhaps with portato lines), preceding the blue crayon 'IV' (indicating the G string) appears to have been scratched out here.

A slur was scratched out here.

The pencil instruction 'pesante' has been rubbed out and replaced by successive down-bows.

David's writing: 'Die 8tel wie fruher die halben' (the 8ths like the 1/2s before). This suggests that even if David did not exactly follow Cherubini's metronome markings, he considered it important to retain the tempo relationship between the two movements.

As in the first movement earlier light grey pencil markings have been emphasised in darker pencil.

4 has been rubbed out and replaced by 3 - indicating portamento.

If the preceding passage was intended to remain in 3rd position a 2 has probably been omitted here.

David's use of blue crayon to mark the cuts in this movement indicates that the blue markings occurred after at least two earlier types of pencil and at least one earler phase of blue craoyon marking (shown by the p on the bottom stave The presence also of pencil deletion in the case of most but not all of the cuts in this movement suggests a progressive process of abbreviation. Since all the pencil cuts also contain pencil performance markings, however, it is clear that David originally played the movement without cuts.

Pencil 'tranquillo' and 'a tempo' have been crossed out here.

The pencil crossing out of tranquillo and a Tempo confirms that a phase of pencil markings followed an earlier phase of blue crayon markings, but preceded a later one.

There have been several layers of markings here.

'bleiben' (remain): the German equivalent of 'restez'

The cut here was first marked in pencil.

The earlier cut to here was first confirmed in blue crayon, then extended in another phase of marking.

animato crossed out

Cherubini's instruction (always equally) suggests that he might otherwise have expected some form of inequality (perhaps agogic accent) from the players in a passage of this kind.

The purpose of a here and two bars later is unclear.

The orange crayon here and elsewhere underneath pencil may represent the earliest phase of marking, perhaps connected with an initial play through. The same orange crayon occurs sporadically in the second quartet, which is otherwise unmarked and can also be seen under pencil in a few places in the third quartet.

David seems originally to have followed Cherubini's phrasing, taking a new down-bow on the 3rd note of the bar. His blue crayon bowing indicates a ricochet bowstroke as described in exercise No. 116 of his Violinschule.

'tal' = talon (heel)

The bowing indicates that the repeat was taken at one stage.

A word (possibly ten) has been scratched out here.

The instruction poco animato is reflected in the faster tempo for this passage in early recordings of this movement by the Klingler and Rosé quartets, perhaps suggesting a 19th-century tradition.

Here it looks as if David originally continued up the E-string to 6th position, playing the last three notes on the A-string and thus remaining in position for the next bars.

These two bars seem originally to have been each under a single bow.

David apparently changed his mind several times about the bowing style of this passage. It was originally marked 'saltato' in pencil (as on the next page, stave 8), but this was rubbed out and replaced with 'spgd' (springend) in blue crayon, which was also rubbed out. He then marked tenuto lines and a slur in blue, here and in bars 11-13, before these markings were finally deleted in blue. This last stage of deletion did not, however, take place in similar places later in the movement.

A slur followed by slurred staccato 1/4s has been deleted here.

A slur followed by slurred staccato 1/4s has been deleted here.

'liegender Bogen' (lying bow) indicating that the bow should remain on the string without separation of the notes. The term is frequently employed in this sense in David's pupil and chamber music colleague Friedrich Hermann's Violinschule.

'saltato' scratched out here.

'Prestissimo' scratched out here.

David's alteration of c flat to b natural indicates that he played this and the next note with 1st finger.

An illegible word, possibly 'stringendo' has been scratched out here.

tal[on] (heel of the bow)

M.d.B. M[itte] d[es] B[ogens] (middle of the bow)