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Manuscript Annotations

Page No.	Note
2	This, like most of the fingerings in this piece, merely emphasises the printed fingering.	View
2	Throughout the statements of the theme, David has changed the crotchets at the start of the odd-numbered bars to quavers.	View
2	These whole-bar notes are formed of two notes (minim + crotchet at the same pitch) in the original edition.	View
2	The appogiatura is an addition by David.	View
2	The tempo designation is David's.	View
2	In each bar, Corelli writes two crotchets. Here David undoubtedly expected to play the a1 with the 4th finger and slide up to the harmonic.	View
2	Ornamented version of this and the following six bars. Corelli continues with two crotchets per bar.	View
2	David almost certainly expected to make a portamento from the open A-string to the g2, corresponding with the portamento two bars later.	View
2	Another added appogiatura.	View
2	The scale is an editorial addition	View
2	These notes, too (and the ones in the following bars) are editorial additions. Corelli just writes a minim C sharp.	View
2		View
2	Also an editorial addition.	View
3	David had several second thoughts about the number and perhaps the order of the variations in this piece.	View
3	Here, too, Corelli has simply written two crotchets per bar.	View
3	The triplets are an editorial addition.	View
3	One of the most radically recomposed variations. With Corelli, it is a basso variation (continuous semiquavers); the violin contributes a double stop minim in the odd-numbered bars and two crotchets in the intervening ones. From this skeleton, David has contructed his elaborate reconstruction of the the Follia theme.	View
4	These marginal comments appear to be intended for a revision of the printed edition. The first refers to a missing # before the c' in the chord at the beginning of the last bar on the second stave down. David's comment '# vor c / nicht vor e' (# before c not before e) clarifies the placing of the sign for a potentially musically unskilled engraver. The comment in blue crayon 'statt 3' (instead of 3) refers to the substitution of a harmonic on the G-string for the printed 3 on the g' marked with a small cross in the fourth bar of the third stave.	View
5	This marginal mark draws attention to the need to lengthen the dashes indicating 4ta.	View
6	This curious fingering suggests, perhaps, a portamento from just below the a''. It seems also that David considered slurring the note from the preceding trill.	View
6	These blue slanting lines, which at first sight look as if they might indicate portamento, but are connected with the equivalent marginal straight and curved lines and intended to draw attention to the backwards extension of the slurs.	View
7	These pencil markings, certainly not by F. David, may be from his son Paul.	View
7	The editorial intentions of David's markings here clearly correspond with corrections in the text.	View
7	This and the other orange markings here are not F. David's (perhaps P. David's), as indicated by the form of the 1, which is untypical of his writing.	View