University of Leeds

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Annotations

  • 1

    Not in 4899b.

  • 2

    Not in 4899b.

  • 3

    This slur and those in the next two bars not in 4899b.

  • 4

    Not in 4899.

  • 5

    Slurs here and two bars later not in 4899.

  • 6

    Slur here and in the next bar not in 4899b.

  • 7

    Slurs here and in the next bar Not in 4899.

  • 8

    Slur here and in the next bar not in 4899b.

  • 9

    Not in 4899.

  • 10

    Bowing signs not in 4899b.

  • 11

    Not in 4899b.

  • 12

    Not in 4899b.

  • 13

    Not in 4899b.

  • 14

    Not in 4899b.

  • 15

    Not in 4899b.

  • 16

    Not in 4899.

  • 17

    Not in 4899b.

  • 18

    Not in 4899b.

  • 19

    Not in 4899b.

  • 20

    Not in 4899b.

  • 21

    Here and in the other similar figures on this stave not in 4899b.

  • 22

    Not in 4899b.

  • 23

    Not in 4899b.

  • 24

    The intended bowstroke here is unclear. The normal place to play such a passage in the late 18th- and early 19th-century would have been about three quarters of the way towards the point of the bow, with an on-string short staccato for the two up-bows. At the recapitulation on p. 2, however, David's long up-bow just before the return of the opening figure suggests performance near the heel. Elsewhere,though, his bowing suggests performance of similar figures in the upper half of the bow. This is strongly suggested by the passage beginning at the end of the third stave on this page, where David's bowing instructions constantly lead the bow towards the point.