The Short

196 ARTICULATION AND EXPRESSION
practice, the distinction was almost certainly intended; and in these cases a broad détaché bowing also seems likely (Ex.
5.30.)
By the second half of the nineteenth century there is little doubt that in the vast majority of cases where a composer
wrote separate notes with neither slurs nor staccato marks, these were meant to be played full-length in the manner of
a détaché bowing. This is clearly what is intended by Tchaikovsky in the first movement of the Sixth Symphony, for
instance, where he scored upper strings and woodwind in unison for extended passages, the wind with slurs, and the
strings with separate bows (Ex. 5.31.) Earlier in the movement where the strings change from passages of mixed slurs
and separate bows to a passage that is again in unison with slurred woodwind, he gave the instruction ‘détaché’ to the
Ex. 5.30. Schubert, Alfonso und Estrella, Act II, no. 22
Ex. 5.31. Tchaikovsky, Symphonie pathétique op. 74/i
Ex. 5.32. Tchaikovsky, Symphonie pathétique op. 74/i