CHASE

Alard's marking 'du talon de l'archet' (with the heel of the bow) draws attention to a style of bowing that appears to have its roots in mid 19th-century Franco-Belgian practice. Earlier 19th-century German violinists, particularly those associated with Spohr's teaching and that of Rode and his pupils will almost certainly have employed a short, probably martelé bowstroke towards the point of the bow. A springing bowstroke towards the heel as indicated by Alard, however, seems to have become increasingly common in later 19th-century string playing. In the Joachim and Moser Violinschule this passage is referred to as follows: 'the performer can choose between the martelé and the springing bow; the intentions of the composer can be equally well realised by either kind of bowing.' [op. cit. vol. 3, p. 12]

C. B.

Ferdinand David (both versions), Edmund Singer, Carl Halir and J. N. Rauch also indicate a harmonic here.