CHASE

The use of a vibrato sign at this late date is unusual.

This is one of only 5 vibrato signs on the first page. The sparing introduction of these signs accords closely with their employment to illustrate appropriate places to use vibrato in Bériot's Méthode de violon of 1858.

It is typical of Bériot's practice, as explained in the Méthode, to employ vibrato on the repetition of a phrase.

Vibrato on this accented note is typical not only of Bériot, but also of Spohr and other musicians who associated it with the intensification of accents.

Here the vibrato will probably have been intensified with the crescendo.

Here vibrato is combined with portamento to characterise the molto espress. First a 2nd-finger slide from the e'' to the f#'' followed by the intensification of the vibrato and portamento together from the f#'' to b'.

The second part of the instruction is not translated below. It reads: 'The following triplets with springing bow in the middle.'

Vibrato on the syncopated note in a Polonaise rhythm (which is essentially the same as a Bolero) goes back at least to the 18th century. It is specified in Johann Simon Löhlein's Anweisung zum Violinspielen of 1776 (p. 74)

This is an unclear translation. Aufgeworfen indicates a thrown stroke.