CHASE

Singer's fingering resembles David's, although he marks 3/40 for the first of these chords. Leopold Auer offers 2/4 (with no indication of a harmonic) as an alternative to the most popular fingering 1/2-2/4, first published in Brodsky's edition and given also by Joachim, Auer and Kreisler; Carl Halir uses a similar fingering to the latter editors, giving 1/3-2/4.

The indication of Fx' corresponds with David and also with the Stichvorlage of the 'Kreutzer Sonata', although no indication of x for the F' is given in most editions.

wuchtig = heavy

In the parallel passage of this splendid motif the minor second becomes a major second, whether intentionally by the master, we must leave undecided. In our opinion the major second suits its grandeur much better than the minor one and so we would not like to recommend giving the first one priority.

This passage, left largely unslurred by Beethoven, receives quite different treatments in the various editions.

The fingering and the slanting lines here indicate a very pronounced portamento between the f'' and the d#''', which is evidently seen by Singer as an appropriate expression of appassionato.

Presumably a 1st finger on the b' is expected followed by a slide up the A string to g''.

On the repeat beginning in a somewhat hesitant manner, and then gradually returning to tempo at the sign.

Here, once again, Singer indicates a portamento between bowstrokes, whether with the up-bow or the down-bow remains uncertain, though in this case the former seems more likely.

A 3rd finger is evidently intended here.

Here Singer indicates a pronounced portamento on the 3rd finger shift.

b) One counts 6 quavers and makes the trill without a turn.

A very short pause.

Remain at the point.