CHASE

Singer's footnote employs the word staccato to mean the specific technique of executing a series of martellé notes in a single bowstroke.

Portamento is evidently envisaged here as in the parallel passage in the recapitulation.

Presumably 'Bogen oben' (upper half).

This fingering clearly implies a portamento.

The staccato dot here seems intended to shorten the note rather than separate it from the previous one.

Portamento is evidently envisaged here.

This fingering resembles Singer's fingering at the beginning of the first movement of Mendelssohn's Piano Trio op. 49, where he also indicates a 2nd finger used consecutively for a stopped note and a harmonic on the D string. The fingering seems to imply some sort of portamento effect. This may have been intended to occur at the beginning of the up-bow, connecting the a' and d''; a portamento from the d'' back to the b' also seems likely. The absence of a slanting line, however, leaves Singer's expectations uncertain.

The slanting line seems to indicate a portamento that is made by sliding the 2nd finger from e'' to g''. The change of boy suggests that this will have occurred as a kind of rising appoggiatura at the beginning of the bowstroke in which the g'' is played. This is similar to Singer's use of a slanting line in the Andante of Mendelssohn's Piano Trio op. 49 (on this website).

The slanting line seems to indicate a portamento that is made by sliding the 2nd finger from e'' to g''. The change of bow indicates that this will have occurred in one of two ways. It may have indicated a portamento occurring just before the bow change, which would take place at the instant the sliding finger reached the g''. Alternatively, it may have implied a kind of rising appoggiatura at the beginning of the bowstroke in which the g'' is played, which is similar to Singer's use of a slanting line in the Andante of Mendelssohn's Piano Trio op. 49.

The use here of the 3rd finger for both b' and d'' within the same bow undoubtedly indicates portamento.

Three consecutive 3rd fingers here is noteworthy.

This fingering is clearly designed both to retain the tone of the D-string and to elicit portamento.

In this case the portamento is to be achieved by sliding the finger before or after the change of bow direction, in standard German practice this might be expected to take place before the bow change, this, although Singer's training in Paris may have disposed him to use the so-called 'French' portamento that was generally condemned in the German School (see Brown Classical and Romantic Performing Practice p. 579).

In the upper half of the bow.

This fingering up and down the D-string is typical of Singer.

'Ganze Bogen' (whole bow).

Lower half of the bow.

This bowing up and down the A-string, with its implied portamento, reflects the earlier occurrence of this passage a 5th lower.

Somewhat held back.