Slurred Springing-Strokes.
Slurred spiccato is very useful as a relief to the staccato proper.
It is performed after the same style as detached springing-stroke, except that instead of the bow being reversed at each stroke, a number of notes are played with the bow springing in one direction. The bow should be given a preliminary bounce by a smart downward turn of the wrist, then gradually moved forward, which will cause several detached strokes as the bow falls after each rebound. For long, quick passages, it is necessary to commence near the point, although not so near that instead of the bow springing, a sforzando is produced; it is not necessary to assist the bow to spring away from the strings in these quick passages, after the initial bounce has been given, the natural spring of the bow asserting itself against the weight of the hand, being sufficient to allow of twenty or more notes being played.
Although the slurred spiccato bowing is expressed in the same manner as solid staccato, the violoncellist will occasionally come across certain passages, which would lose all their charm if played with solid bowing. Ex. 28 will illustrate this. The semiquaver triplet should be executed with three smart bounces with the up-bow; then the bow should be controlled, and lightly drawn for the two tied quavers. The introduction of the two slurred quavers in this passage, makes it almost compulsory to execute it between the middle and the heel of the bow, it being possible to check the bouncing better there than if playing near the point.
However, to illustrate how the 'cellist must be able to appreciate the subtle differences in various manners of phrasing, or how an artist by a slight liberty, would transform an awkward bowing into one with more character and force, we will suppose the above passage written thus:—
The semiquaver triplet in this case, (Ex. 28a), is executed with springing-bow, using the upper third; the bow is then thrown on the string close to the point for the sforzando.
In substituting or inventing the manner of bowing any particular passage, the violoncellist should always take into consideration the character of the composition being performed, not being above considering the generally acknowledged manner of interpreting the works of well known composers. The introduction of any exaggeration in accent, etc., whilst being perfectly admissable in performing compositions by Brahms, Schumann, or Dvorak, would most probably be out of place, if introduced in similar works by Mendelssohn or Beethoven.