This variation has a lovely lilting character and we need to pay attention to our bow divisionDividing the bowstroke into fractions of the length of the bow. and bow speed and phrase our lines with clear musical intent. For instance the shape of the first 4 bar phrase (bars 1-4) needs bar 2 to lead to the leading note (A#) in bar 3. If the bow speed is even in this bar then the musical line becomes dull, sitting in 2 bar phrases with an emphasis of the 1st beat of every two bars. Bar 2 is one long down bow moving from the strong lower half to the lighter upper half of the bow, so to achieve this crescendo or leading we need to increase bow speed and frictionThe degree of contact between bowhair and string. towards bar 3. Practice your phrasing at half tempo keeping the bow on the string and exaggerating the line.
Ševčík often uses articulation marks to help indicate phrasing structure, for instance the last note of bars 4 and 8 has a dot under the slur which helps us finish off the phrase. The phrasing structure for bars 9-16 is two-bar units in a descending line and so Ševčík gives us the articulated afterthought quaver at the end of every two bars.
The articulation needed in bar 1 and other similar bars requires us to lift the bow from the string after playing the opening slur. To maintain a resonant sound do not lift the bow too far off the string and keep the bow on the side of the hair.
SEE
Introduction to Tone Production for bow division and bow speed