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Manuscript Annotations

Page No. Note
2

a later pencil marking

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2

An interesting bowing - the final c is tucked in, putting the following f on an V, all so that the Π on the sfp F does not involve a re-take, and avoiding a sense of a premature stop at bar.

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2

The 3 1/4 note Fs are grouped separately by Mendelssohn. Grützmacher includes the 1/2 note F in the next bar, putting each of the following groups of 1/8 notes on a &*x0340;.

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2

A good example of how Grützmacher changes string for repeated phrases.

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2

There is probably a slight intended portamento to the g harmonic, but the dramatic effect of this fingering is more visible than audible.

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2

Slur added.

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2

Compare Cossmann's two suggested fingerings for this passage. Grützmacher's fingering remains in thumb position for the first bar and then returns to first position as quickly as possible.

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2

Using the D string for the repetition of the phrase, anticipating the p at the end of the bar.

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3

Tucking-in slurs added.

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3

Lines added.

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3

Mendelssohn: each bar under one slur. Grützmacher removes the slurs and adds lines, presumably here meaning tenuto.

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3

Changing to the D string for the repeated phrase.

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3

Grützmacher uses this marking extensively in this sonata, and it occurs frequently in his other editions and arrangements. Here it clarifies that portamento is required, whereas the fingering on its own need not imply it.

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3

Compare Cossmann here. Though still moving up and down the C string, Grützmacher's fingering shortens the shifts by using the 4th finger where Cossmann uses the 2nd.

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3

The open string here and two bars later gives clarity; it may also have a visual effect.

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4

Throughout this passage, where Cossmann breaks up Mendelssohn's longer slurs, Grützmacher retains them and even extends some.

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4

repeated Πs are implied here, unlike in Cossmann.

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5

This would appear to come on a V, which may mean that the same-finger shift uses portamento to maintain the cresc. to the end of the phrase. Compare Cossmann.

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5

A change to a brighter string for the repetition.

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5

Slurs removed and lines added as in the exposition.

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6

In Mendelssohn, the second pair of 1/4 notes in each bar has no slur.

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6

Grützmacher prefers to avoid an open G here, preferring the softer tone of the C harmonic, even though this entails an ungainly shift to the D string in the next bar.

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6

A good example of how Grützmacher uses a change of fingering to reinforce the dynamic effect. The performance of the phrase on the D-string with changes of position would involve several types of audible portamento. A standard 'German' portamento would occur between the a and the eb'. From d' to bb there would be a more pronounced portamento of of a type neglected in pedagogical writing (but audible on many early recordings) where a lower finger is followed by a higher one.

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6

Gliss marked because not otherwise implied by the notation. There are many examples of this type of approach to a staccato note in his editions. (See the next box below for further discussion of this type of portamento.)

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6

This marking seems to imply a portamento beginning before the d', from an unspecified, but almost certainly harmonically-consonant pitch, like the 'leaping grace' described by Domenico Corri in his Select Collection (Edinburgh, [1783]) (see Clive Brown Classical and Romantic Performing Practice p. 567ff). This would contrast with the first statement of the theme 4 bars earlier.

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