His first remark in the G major Gigue is to ask her to do the repeated notes in the same bow, which she’s very reluctant to do. It’s exactly the same effect that Beethoven clearly spells out in the A major Sonata Op. 69 Scherzo, in both piano and cello-even to the level of detail that Beethoven supplies accented “substitution fingerings” in the piano part-where the second note is accented in each tied pair, apparently a series of double-accented syncopations, without breaking the ties-Czerny describes it as “something wholly peculiar.” It’s very plausibly an effect borrowed from street-band peasant bowings-in fact it’s often heard in Celtic folk bands today-but is and was frowned upon in “classical” tradition, even in Beethoven’s time. That’s why this player shies away from using the effect, despite its vitality and Casals’s exhortations. Casals is very possibly correct.

There will never be another like that.......