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Singer's fingering suggests successive portamentos, which would have been frowned upon by many 19th-century violinists.

Singer's fingering up the D-string, combined with his instruction (not Beethoven's) molto espressivo, suggests heavy use of portamento.

The use of the slanting line here, where portamento is in any case implied by the fingering, suggests either that Singer expected it to be particularly emphasised, or that he wanted to make it clear that the 2 was on the A-string, not the E-string.

Since the 1st part of the Scherzo is played twice in it's written out version, the 2nd part, in order to maintain balance, will similarly be played twice before it goes to the Coda.

It may be tempting to associate the term espressivo with the use of vibrato, but this can certainly not be the case here, where a harmonic is marked. It seems clear, therefor, that Singer expected the expression to to be produced by the bow.

The fingering here is curious. The passage immediately preceding is already in 3rd position. Perhaps Singer envisaged the b flat' with a first finger and intended portamento.

Left-hand pizz.

This is another example of Singer's portamento between bowstrokes.