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Manuscript Annotations

Page No.	Note
1	This begins in the following bar in 7986.	View
1	7986: p dolce.	View
1	Not in 7986.	View
1	7986 has dots and slurs (two notes each); upbeat to 2/1 is a separate 1/4 note with no articulation; 7896 has no rallent..	View
1	None of these dynamics in 7986.	View
1	This crescendo begins one bar later in 7986; 7986 has no rallentando.	View
1	7989: no dot.	View
1	7984: no dot.	View
1	V in 7986.	View
1	Not in 7986.	View
1	No dots in 7986 in this and the next bar.	View
1	Not in 7986.	View
1	Not in 7986.	View
1	7986: p, with no diminuendo.	View
1	Not in 7984.	View
1	Not in 7984.	View
1	Not in 7894.	View
1	7984: no lines.	View
1	None of these dynamics in 7984.	View
1	Not in 7984.	View
1	Not in 7984.	View
1	Not in 7984.	View
1	Not in 7984.	View
1	Not in 7984.	View
1	None of these dynamics in 7984.	View
1	Not in 7984.	View
1	7984: these notes fingered 3-3.	View
1	7894: Π only on first E (1/4 note).	View
1	7984: this bar and the next one both with the first note separate and the next two slurred - i.e. not slurred across bar line.	View
1	Not in 7984.	View
1	Not in 7984.	View
2	Not in 7984.	View
2	7984: whole bar with one slur (including last two notes).	View
2	Not in 7984.	View
2	Not in 7984.	View
2	No line in 7984.	View
2	No hairpins in 7894.	View
2	Not in 7984.	View
2	One of very few gliss. markings in Grützmacher's Beethoven edition - see the sonata op. 5 no. 2, second movement. Not in 7984, which retains the fingering. Grützmacher's gliss. marking here means that the passage is played on the G string; without the gliss., the fingering in 7984 can be played in lower positions on the D and G string.	View
2	7984: no p, but marked espressivo.	View
2	Not in 7984.	View
2	Not in 7984.	View
2	7984: Π.	View
2	7984: Throughout this arpeggiated passage, 7984 has no staccato dots, and the bowing pattern is 3 slurred + 5 separate. Also, in 7894 this passage begins with a Π bow. Compare sonata op. 5 no. 2.	View
2	7984: throughout this passage, this pattern is bowed with two slurred and two separate notes.	View
2	Not in 7984.	View
2	Not in 7984.	View
2	Not in 7984.	View
2	Not in 7984.	View
2	Not in 7984.	View
2	7984: dim. on last 2 notes of the bar.	View
2	Not in 7984; this bowing is redundant.	View
2	No dots in 7984.	View
2	7984: dolce.	View
2	Not in 7984.	View
2	7984: crescendo begins one bar later.	View
2	Not in 7984.	View
2	Not in 7984.	View
2	Not in 7984.	View
3	7984: no dots.	View
3	7984: no dots.	View
3	7984: p at 2/1, no diminuendo.	View
3	Not in 7984.	View
3	None of these dynamics in 7984.	View
3	None of these dynamics in 7984.	View
3	None of these dynamics in 7984.	View
3	Not in 7984.	View
3	Bowing in 7984 as in earlier version of this passage.	View
3	Not in 7984.	View
3	7984: no dots on these notes.	View
3	Not in 7984.	View
3	Not in 7984.	View
3	This fingering also in 7984. Implies a subtle portamento, created by sliding the 2nd finger to the e', from behind the 3rd finger. The maximum distance for the slide here is a minor 3rd (i.e. from c'#), and the fingering is contrived for precisely this effect.	View
3	Here in 4901 Grützmacher repeats the subtle portamento from two bars earlier. In 7984 he changes the fingering to 1-3 on the D string, creating a much longer slide before crossing back to the A string immediately in the next bar.	View
3	No lines in 7984.	View
3	Not in 7984.	View
3	7984: no dots.	View
3	7984: no >>	View
3	Not in 7984.	View
3	Not in 7984.	View
3	Not in 7984.	View
3	Not in 7984.	View
3	7984: no dots.	View
3	Not in 7984.	View
4	Differences between 4901 and 7984 are marked here only for the first statement of the material, but they apply at each repetition.	View
4	7984: no dots.	View
4	Not in 7984.	View
4	No lines in 7984.	View
4	7984: these 4 bars in one bow; no hairpins on first note.	View
4	7984: no >> here, or in the following bar 4/1.	View
4	7984: fingered 4.	View
4	7984: this crescendo begins two bars later.	View
4	A sliding fingering, which Grützmacher prefers (4-1-4 would largely avoid it).	View
4	7984: no dots.	View
4	These dynamics not in 7984.	View
4	No dots in 7984.	View
4	7984: this diminuendo begins 3 bars later (7/9).	View
4	Not in 7984.	View
4	Not in 7984.	View
4	Not in 7984.	View
4	A striking use of contrasting strings for varied timbre.	View
4	7984: f	View
4	Not in 7984.	View
4	7984: no dot, no f.	View
6	Fingering designed for a light portamento on the last two notes.	View
6	Not in 7984.	View
7	A fingering created specifically for portamento effect, sliding on the 4th finger puts 3 on the d'♯ which then sldes up to the f#♯.	View
7	Marked 3rd finger harmonic in 7984.	View
7	7984: p	View
7	Not in 7984.	View
7	7984: p (subito) here.	View
7	Not in 7984. 7984 has hairpins up and down within the bar.	View
7	Not in 7984.	View
7	No dynamic marking in 7984.	View
7	7984: 2.	View
7	No dots in 7984.	View
7	7984: all notes with separate bows.	View
7	Not in 7984.	View
7	Not in 7984.	View
7	A highly unusual, almost inexplicable, fingering (found in both editions), making a strong crescendo on a note played by the thumb, and finishing in a high position on the G string, ff.	View
7	Not in 7984.	View
7	7984: V	View
7	This fingering is to be played in the same position as the previous bar, to facilitate the thumb position required for the semiquaver scales.	View
7	Not in 7984.	View
7	This slur, and similar slurs in the following 3 bars, not in 7984.	View
7	Not in 7984.	View
7	Not in 7984.	View
7	7984: ff	View
7	Not in 7984.	View
7	7984: dolce, not p.	View
7	Not in 7984.	View
7	Not in 7984.	View
7	Not in 7984.	View
7	Not in 7984.	View
7	Not in 7984.	View
7	Not in 7984.	View
7	7984: No >>.	View
7	Not in 7984.	View
7	Not in 7984.	View
7	7984: crescendo starts at the beginning of the bar.	View
7	7984: no dots from 12/1 until the end of the line.	View
7	Not in 7984.	View
7	Not in 7984.	View
8	7984: Π. 4901's V marking is because of the slur linking the last note of this bar to the return of the opening theme - a phrasing unique to Grützmacher, and only present in 4901. 7984 has no diminuendo marking, and p for the main theme.	View
8	Not in 7984.	View
8	7984: V.	View
8	Not in 7984.	View
8	A clear instance of portato bowing.	View
8	Not in 7984.	View
8	Not in 7984.	View
8	Not in 7984.	View
8	7984: V, with a slur to the end of the next bar.	View
8	7984: this whole bar under one slur.	View
8	7984: harmonic.	View
8	7984: harmonic.	View
8	Not in 7984.	View
8	7984: IIa	View
8	Not in 7984.	View
8	Not in 7984.	View
8	7984: no slurs, as in previous passage.	View
8	Not in 7984.	View
8	Not in 7984.	View
8	7984: no dot.	View
8	7984: ff	View
8	7984: placed at the beginning of the bar.	View
8	7984: no line.	View
8	Not in 7984.	View
8	7984: dolce, no p.	View
8	Not in 7984.	View
8	7984: fp, no diminuendo.	View
8	Not in 7984.	View
8	Not in 7984. 7984 has f on e, 10/3/2.	View
8	7984: totally different bowing here - 2 slurred, 3 separate, and the final 3 slurred but with another V bow.	View
8	7984: slurred in 2 groups of 5 + 3 notes, but with both groups played V bow. Both bowing are designed to produce a Π at the start of the next bar.	View
8	Not in 7984.	View
8	7984: no >>.	View
8	7984: no dots.	View
8	7984: ff.	View
8	Not in 7984.	View
8	7984: no dots.	View
8	This convoluted fingering is characteristic of Grützmacher's general tendency to avoid repetition.	View