I Googled 'saccadé violon' like an amateur (see below).

Wiktionary seems to imply that the salient thing is to sound both the G and the D strings together by means of the violent pressure on the Sf (third note of @pete's example), not that I'd normally go to Wiktionary for anything that specialised.

And normally I'd be very suspicious of an invented generalising name for a very specific technique that may be unique to one piece of music (if it were all about the Rode).

Wordnik describes it as multiple-stopping by brute force rather than by technique.

So, again in Pete's example, when going from C to D it seems to be required that you play the open D string sf (don't attempt to use your pinky) and sound both strings, and so on. In other words, forget all that clean-pivoting practice you did, and just blast through it!

Further French Googling, thus: ' "saccadé" "violon" ' revealed they probably don't recognise the expression; and, if Wiktionary and Wordnik are right, I'd say it was misnamed anyway: if Rode had just put martelé marks under each 1st and 3rd note and the piece was fast enough, lesser players would automatically have got the desired effect. Funny to think he may simply be telling experts not to overpractise it! Now, as it is, lesser payers will be forced to overpractise it! (tongue-in-cheek smiley)

In the year since I commented, in total ignorance, above, I have not used it, not needed to know it, forgotten about it and forgotten I had commented on it.

Lol.

If I come across it in an orchestra I will bluff it.

Rereading what I wrote above, I'm not ashamed of it. It could perhaps be shortened.

Perhaps the best summary is, "if you can play that Rode at all, then you will probably be using the saccadé stroke (if it even exists) without knowing it or needing to know it"!