CHASE

This fingering has a clear expressive intention. It seems likely that the harmonic will have been approached by a short slide from just below the note, while the legato shift from d'' to b flat' can only have been accomplished by means of another portamento. This would produce two, albeit very different portamento effects in succession, a practice deplored by many writers at the time.

The staccato here, and elsewhere where staccato wedges are printed, is given as dots in the piano score.

Fingering the harmonic with a 3 here is presumably to produce a different portamento effect from the same figure on the previous stave, where a 4th finger for the harmonic, followed by another 4th finger on g#'' is implied.

Fingering the harmonic with a 3 here is presumably to produce a different portamento effect from the same figure on the previous stave, where a 4th finger for the harmonic, followed by another 4th finger on g#'' is implied.

Not Mendelssohn's instruction (it also appears in the piano score.

This is not Mendelssohn's instruction and it is not present in the piano score.

These slanting lines and the instruction glissez indicate portamento that would not otherwise be obvious from the fingering, since it occurs immediately after a change of bow. The question whether it was envisaged as made at the end of the first bowstroke or with the beginning of the following one is unclear from the notation, but from a practical point of view, the latter seems more likely, creating the kind of swoop that is so often heard on early recordings of sopranos (for instance Adelina Patti's performance of Mozart's 'Voi che sapete').

Here Singer follows the expressive portamentos in the previous bars with a slide of a tone with the 4th finger from f''' to e flat''' and in the following bar another change of position that would undoubtedly have been accompanied with portamento.

See the note to the similar passage on the 1st stave of the next page.

This long succession of up bows starting with the 16th-notes, with only a single note down bow, in the 4th bar, will probably have been executed as near the tip of the bow as possible, using a minimum length of bow for the initial run.

It is indicative of a lack of communication between the editors that the cello part provides no guidance for bowing the similar passages that answer the violin's phrase.

This will have been envisaged as a staccato at the point of the bow.

The use of up-bow staccato (towards the point of the bow) here and elsewhere in this movement allows a more sharply articulated bowstroke than would have been easily achievable in a piano dynamic with separate bows.

An audible portamento (up the D-string, the first finger sliding from g' to bb', followed by an extended 4th finger) between the bow strokes will almost certainly have been envisaged here to emphasise the legato of the phrase.

The fingerings indicate a succession of expressive portamentos on the A-string in this cantabile melody.

The portamento up the A string indicated by the successive second fingers is one of the few expressive effects also indicated by Joachim in his Simrock edition of this trio, although he reserves it for the second shift from c#'' to g'', taking the first in 1st position.