This is what Richard Strauss wrote in his edition of Berlioz’s orchestration treatise:
“To curb the different temperaments in bowing means to destroy the soulful expression in the rendering of a melody. One violinist, in accordance with his feelings and technical skill, may need four strokes of the bow to play a melody expressively; another violinist, only two. If the first one is forced to play this melody also with two strokes, his performance will obviously lose its intensity and become poor and dull…. In such cases it is my principle to follow strictly the composer’s phrase-marks (breathing-marks) ONLY at the beginning and end of a phrase; within the phrase I let each violinist change the bow as he wishes.”
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