Begin the first F# downbow in the upper half, 5th position G string, using a fingertip vibrato, slow bow-quick string crossing to F# on the A string. Why not start on the D string and shift to the A string or stay in position and then shift to the B? This is a section solo not a single player solo- always a major consideration- 12 players shifting in a soft exposed passage is rarely clean with perfect ensemble. The double string crossing is difficult but the arc of the bridge is on our side when taking a downbow, and with practice is almost always clean and in tune.

Continuing upbow from the F# extend the 3rd finger to the B and gently shift the hand to 6th position. Bow speed remains slow with a quasi sul tasto color- it is not necessary to use the entire bow. The 1st finger downbow C intensifies only slightly near the tip before going to the G. The upbow G, 2nd finger on the G string goes to a harmonic at the very last moment before going to the upper octave G- simultaneously speeding up the bow so the harmonic rings to disguise the double string crossing. Be careful on the downbow upper G not to immediately pull the bow too quickly so it is accented or out of phrase context. While the G should open up into the high E-flat, the vibrato should remain controlled with a narrow oscillation.

I play the E-flat by extending my 3rd finger. Now I know that is a long extension- some people say at first attempting it that they can't do it (give it a chance)- but what it forces you to do is play with a flat finger and small finger vibrato which is in keeping with the restrained emotion of the phrase. If you shift it most often sounds out of context, i.e. too romantic or round and rich a sound. Sometimes it is the least comfortable fingering that produces the most correct interpretation- particularly in an excerpt like this that should not sound entirely comfortable. Controlled but not comfortable. Use most of the bow but very light contact.

The C is then easily played with the 2nd finger- again using care to avoid over vibrating. The shift down to the F on the 2nd finger must be timed properly to occur on the upbow so it is well hidden and no big glissando sounds as is so often heard.

The rest of the excerpt concerning fingerings is self-explanatory with just a few final comments. The shift down from the 3rd finger on the G to the 1st finger on the C entails an imperceptible slowing of the bow to hide the shift. None of the shifting in this excerpt should be particularly expressive or romanticized. I play the fifth from F to B-flat using the 4th to the 3rd finger but many people prefer 3rd finger across the string. That is up to you. Whichever produces the smoother more in tune result.

The last 13 notes- 4 mini-phrases creating one longer phrase- must be evenly vibrated and diminuendo in terms of volume, vibrato and color. I play the last 6 notes fingered 1-2-1, then to the C string 2-4-3-1. Using the dark color of the C string to give a sense of finality to the phrase.

The entire time this excerpt is being played and particularly before beginning it you must be thinking of the inexorable rhythmic accompaniment of quarter note -2 eighth notes that is unrelenting throughout. The dynamic range of the whole excerpt is quite minimal which only enhances the sense of suppressed emotion.

This is the kind of detailed and disciplined attention it takes to do justice to the composer and his or her work and hopefully land you a job in the orchestra of your choice making great music for the rest of your life. Good luck.