Hi Rok - the bowing question is very simple. I'm sure you have noticed that each section of the string family is always moving their bows together, in the same way. It is the markings that tell them what to do when that we call "the bowings." There is a symbol for a downbow, and a symbol for an upbow, and some other very standard markings for different types of bowstrokes. Sometimes the composers will call for a passage to be bowed a certain way. Basically, a downbow is stronger, meaning it has more weight than an upbow. Bowings are chosen for both musical and technical reasons, and often much time in rehearsal is spent in discussing possible changes of them, while us wind players twiddle our thumbs.... :) Seriously, a conductor will often request a change in the bowings for some musical reason, or if he/she is not that familiar with bowings (in other words, they didn't/don't play a string instrument), they will ask the concertmaster if a change would help create the effect they want in a certain passage, etc.
It is the job of the concertmaster to do the bowings for any piece the orchestra is going to play, and as I said before, these are then passed on to the other string principals, who may make minor changes for their own sections. The librarians then are the ones who actually mark the bowings in all the other string player's parts. All of this is done far in advance of the first rehearsal of the program, so the music is ready for the players personal use in preparing for the program. Each orchestra's CBA will mandate how far in advance the music has to be ready and available - in most it is two or three weeks ahead of time. String parts take much longer to prepare than wind parts, precisely because of the bowings.
It is the job of the concertmaster to do the bowings for any piece the orchestra is going to play, and as I said before, these are then passed on to the other string principals, who may make minor changes for their own sections. The librarians then are the ones who actually mark the bowings in all the other string player's parts. All of this is done far in advance of the first rehearsal of the program, so the music is ready for the players personal use in preparing for the program. Each orchestra's CBA will mandate how far in advance the music has to be ready and available - in most it is two or three weeks ahead of time. String parts take much longer to prepare than wind parts, precisely because of the bowings.