CHASE

The added chords in this and e.g. bars 2, 5, and 6, were copied by many subsequent editors, and, until recent times, by most performers.

The fingering of these bars, with upward portamenti, is followed by most later editors, as are the dynamic alternations and signs for repeated down bows.

The three pairs of 16th notes travel down the bow towards the heel, followed by a swift, emphatic down bow.

This suggests a rather unexpected style of bowing. Presumably David expected the two demisemiquavers (32nds) to be played with a thrown ricochet stroke near the point and the semiquavers (16ths) to be executed on the string. The group of demisemiquavers at the end of the bar were probably expected to be played with a single ricochet bowing beginning at the point. While David appears never to have indicated this style of bowing in Viennese classical works, he employed it in other baroque pieces.

Here Bach's holograph explicitly marks b natural and c sharp again.

There are no slurs here in Bach's holograph.