CHASE

A bowing slur over the whole bar has been scratched out here. The present slurs were first written in pencil and then inked over. Most of the ink markings throughout the piece have been made over pencil markings.

A bowing slur from d'' to b' has been scratched out here.

There have been several changes of bowing here. A slur over the whole figure was scratched out and a slur over b' to a' was later extended backwards to the g'. The pencil V and Π below the notes also show traces of ink.

The fingering provides a remarkable illustration of the purity of sound (with only very selective use of vibrato) that seems to have characterised David's aesthetic. IT has evidently been contrived to make maximum use of the open strings and natural harmonic.

Here too an earlier version has been thoroughly scratched out.

The fingering will surely have been intended to elicit a prominent portamento here.

The original printed slurs have been scratched out here.

In pencil David inserted semiquaver rests between the notes in the lower part and added an extra beam to the quavers, but later deleted this version.

A partly deleted pencil simile (evidently relating to the inserted rests in the lower part in the previous two bars) is just legible here.

The wavy lines here and two bars later (some inked over, some still remaining in pencil) are vibrato indications, probably associated with the espr[essivo] marking. Their presence here accords with David's discussion of the use of vibrato as an occasional ornament in his 1863 Violinschule and strongly suggests that little or no vibrato was employed elsewhere in the Romance except, perhaps, in the parallel passage that follows and on accents (as suggested by Spohr). The non vibrato tone as the norm is also suggested by the frequent use of open strings and harmonics for longer notes (for instance, on staves 3, 6 and 8 of the previous page).

vibrato signs in pencil (see note in previous box).