David Fenton wrote: d.f.>For example, one of the problems d.f.> with slurs in string music is that, in general, they will be d.f.> interpreted as bowings.
I reply: No, they will ALWAYS be interpreted as bowings. That is precisely how bowings are indicated in string music. This is not the first time this has come up, and I've given up on trying to convince keyboard players that it's true, but it's true anyway. I will add one qualification: slurs will be interpreted as bowings as long as they make sense as bowings. It only takes a few nanoseconds for a string player to realize that the composer or arranger or editor is an idiot and doesn't understand how to write string parts.
Just replayed the Barber Adagio in a concert, and it's interesting that he used two levels of slurs, a macro level which obviously indicates overall phrasing, and a micro level which are actually bowings. And they work. The question is, what is the function of the macro slurs? I would not use them myself, but then he was a pianist (and excellent singers) if I recall.
This might go a way to explaining those odd string markings from pianist/arrangers you see all the time. The Adagio is very popular study score (along with the Bartok quartets) for students of string writing.
For the average pianist who doesn't play a wind or string instrument, a slur is kind of a state of mind. In piano music the notes under a slur are as connected as the player can make them, but they all have a new attack which is not all that different from non-slurred notes (compared to wind or string players, that is!)
For a wind player, breaking the slur definitely means a new tongued attack on the next note.
We wind/piano players are looking for a way to show string players that a long line should NOT have an audible break between bows. Macro slurs are the most intuitive way, I suppose. Or what about breaking the phrase, but keeping the bow moving in the same direction? A macro slur showing this can help.
Although in reality, string players are often sensitive enough to realise when legato is called for in a détaché passage. And a staccato under a slur can show break in a phrase. This is why I don't use them myself.
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