CHASE

Manuscript Annotations

Page No.	Note
1	Cossmann uses this as a Π marking.	View
1	Mendelssohn slurs the whole bar.	View
1	Added.	View
1	Added.	View
1	An audible shift which may intensify the approach to the ff in the next bar.	View
1	Mendelssohn: f only.	View
1	The same-finger shifts in this and the following two bars (and the parallel passage later in the movement) are not expressive, although they do ensure an absolutely continuous legato with no string-crossing; this fingering minimises the distance of each shift.	View
1	Added.	View
1	'Tucking-in' slurs added.	View
1	Slur added.	View
1	Slur added.	View
1	Slur added.	View
1	Mendelssohn slurs from c' to a, with the g separated.	View
1	Slur and line added.	View
1	Slur added.	View
1	Slur added, creating a small portamento.	View
2	Mendelssohn slurs the B♭ to the c, separating the second c.	View
2	Mendelssohn: p. Cossmann's pp sur la touche (on the fingerboard) suggests a special effect here, as in general playing on the fingerboard was not encouraged in the cello tutors (if mentioned at all). When this passage returns, this device is used to create an echo effect.	View
2	Mendlessohn: all in one slur.	View
2	Mendelssohn: slur extends to the end of the next bar.	View
2	Mendelssohn: whole bar in one slur.	View
2	Mendelssohn: whole bar in one slur.	View
3	Added.	View
3	Slur and lines added.	View
3	Longer slur added - and two bars later.	View
3	Mwendelssohn: tied.	View
3	Whether this 3-3 shift has an expressive function is not clear. The bar comes on a Π, which might suggest a slight diminuendo to the end of the phrase; compare < href="http://mhm.hud.ac.uk/chase/view/pdf/965/5/#page">Grützmacher.	View
3	Mendelssohn: only slurs the last four 1/8 notes.	View
4	'Tucked-in' bowing added.	View
4	Cossman omits Mendelssohn g' acciacciatura here (retained 2 bars later).	View
4	A small portamento to the d' harmonic, a favoured expressive device recommended by Dotzauer and Romberg.	View
4	Slur added.	View
4	Longer slur and line added.	View
4	Dots added.	View
4	Added.	View
4	Mednelssohn: slurred in two triplet groups.	View
4	In Mendelssohn, the second pair of 1/4 notes in each bar has no slur.	View
4	This quasi-echo effect added by Cossmann.	View
4	Slur added.	View