University of Leeds

CHASE

CHASE

Manuscript Annotations

Page No. Note
2

Hermann has added these slurs. They suggest a broader, smoother style of performance.

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2

This slur and its associated dots (added by Hermann) suggests that the bow travels all the way from the point to the heel.

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2

Second position to avoid a fourth-finger trill.

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2

This "hooked-in" bowing avoids having to recover the bow after the tie. The following bar, starting with an up bow, balances the use of up and down bows.

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2

The slurs in Bach's autograph ms cover only the first three notes of each group. Hermann's alteration, like that in bar 3, suggests a smooth, sostenuto delivery.

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2

See note to bar 3.

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2

"Tucked in" bowings, as in David's edition, to balance the down and up bow strokes

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2

Hermann allows the slur, which Bach places over three notes, to cover just two. This causes the second half of the bar to begin on an up bow, facilitating the string crossing, and helping the violinist to make a strong physical gesture.

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2

Hermann preserves Bach's slurred pairs in the second half of the bar, but adds another pair of his own.

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3

See note to bar 3

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3

Having retained Bach's slurs in the two previous bars, Hermann omits the similar one here.

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3

This and the two following tied minims, to which Hermann has added the swell indication, seem to be a special effect (perhaps involving vibrato) for which an up bow is preferable.

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3

Down bow brings the tied minim B flar 2 bars later onto an up bow.

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3

After the long up bow, it is not easy to take this group on a down bow without giving too much emphasis.

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3

Bach's slur extends over two bars (as in the previous phrase. Hermann splits this in order to arrive on a down bow at the start of the next bar.

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3

Slurs added here (also two and four bars later) to facilitate string crossing, using the wrist.

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3

Hermann is not quite consistent here, suggesting "tucked in" bowing to bring the tied crotchets alternately on down and up bows, unlike the parallel passage before letter C.

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3

Bach has slurred only the last three notes. Hermann's slur brings the following bar on an up bow, and the trill in the next bar on a down bow

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3

This slur, added by Hermann, causes the following bar to start on an up bow. There are no indications for regaining a down bow start in the subsequent bars - an oversight, perhaps.

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4

At many places in this movement, Bach includes just the first two notes of the triplet in his slur; Hermann changes to the smoother 3-note slur.

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4

Fingering implying portamento

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4

Bach articulates only the B (not included in the slur and with a staccato dot.

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4

Portamento implied.

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4

In the Bach Gesellschaft edition of 1874, the editor, Wilhelm Rust, adds slurs, as Bach himself does in the parallel passage at bar 41. The tenuto lines are, of course added by Hermann.

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4

The semitonal shifts with the first finger can be accomplished comparatively cleanly, but the shift up to F, and the one down to E (together with the cresc./decresc. marking) suggest an expressive delivery with portamenti.

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5

A different phrasing from the earlier appearances of this passage, with separate bows and tenuto lines.

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5

Until the Neue Bach Ausgabe edition of 1986, most of the autograph slurs were interpreted as covering three notes, as here. Most modern performances follow the NBA with its two plus one bowing.

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5

Slur and separation dot are maybe omitted in error.

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5

Hermann consistently uses "tucked in" bowings, to make the time spent on up and down bow more equal.

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5

Taking these two groups in one bow brings the bow to the point for the up bow start to the next bar.

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5

This elegant bowing takes the bow from the heel to the point, returning to the heel during beats two and three of the following bar.

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5

Hermann follows the bowing indicated in the Bach Gesellschaft edition, but tucks in the third note in the bar, so as to arrive again on a down bow at the start of the next bar.

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5

This slur is editorial.

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5

The four-note slur is found in the autograph ms; the longer slur is given as a smoother alternative. The same applies to all the alternative, longer slurs up to letter R; the shorter slurs follow the Bach Gesellschaft, with Hermann's suggestion making possible a more legato style with more constant bow speed.

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6

Hermann's bowing here brings the long tied notes alternately to the heel and the point.

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6

It is perhaps an oversight that Hermann has not indicated a down bow here, so as to arrive on a down bow at letter T.

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6

Bar starts with an up bow at the point.

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