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Violin plucking9/9/2023 Left-hand pizzicato is certainly possible on the baroque violin, as evidenced from the historical example in Biber discussed above. Left-hand pizzicato on the baroque violin: 45) and the slew of virtuosic modern violinist/composers of the 19th to early 20th centuries. Left-hand pizzicato has continued to be used regularly since this time, including famously by Niccolo Paganini in his 24th Caprice ( 1820/1973, p. A performance of this passage may be found in the first instalment of the Recitals. 7–8), where the solo violin is required to pluck the open E string to represent battle scenes. An example for the baroque violin, from the Baroque era, can be found in Biber’s Battalia (1673/2007, pp. While it is impossible to know precisely how early left-hand pizzicato came into use, it is possible to imagine it was employed in performance if and whenever it was more convenient than plucking with the right hand. Therefore, left-hand pizzicato should be used only when physically convenient, usually for isolated pizzicati rather than extended passages, and preferably on open strings rather than stopped notes. At the same time, this hand is also supporting the instrument and stopping the pitches on the strings. This is most apparent when you watch a live performance, but you can see (and hear) it to some extent on this video.“Left-hand pizzicato” refers to plucking the strings with any finger from the left hand. Listen closely to how Tchaikovsky uses dynamics to make contrasting loud and soft sections, and timbre when he thrown the sound through the string section from the first violins to the seconds to the violas, to the cello, and to the double basses. 4 (Chicago Symphony Orchestra Daniel Barenboim, cond.) For the final return of the scherzo, both strings and winds play, but the strings only play pizzicato. The third movement is a twist on the classical minuet / trio form by making is a scherzo / trio but the scherzo is only played by plucked strings and the woodwinds come in for the contrasting trio section (01:50), followed by the brass. One of the most interesting uses of pizzicato is in Tchaikovsky’s 4th Symphony, completed in 1878. If you can imagine the effect of this sound during the Vienna New Year’s Balls after all the singing strings of the various waltzes – now the air is cleared. Strauss II: Neue Pizzicato-Polka, Op 449 (Vienna Philharmonic Orchestra Riccardo Mut, cond.) Josef Strauss: Pizzicato-Polka (Vienna Philharmonic Orchestra Carlos Kleiber, cond.)Īnd his brother, Johann Strauss II, writing the New Pizzicato Polka in 1892, We have Josef Strauss writing a Pizzicato Polka in 1869 Many composers, from Back to Benjamin Britten have used this technique for anything from religious music to string quartets to full symphonies. It’s as though the string section has turned into a giant harp. They’ve put down their bows, and make the strings sound by plucking them with their fingers. The word in Italian means pinched or plucked and that’s what the string players are doing. Ready for PizzicatoWhen the string section changes from a lush sound to a percussive sound, we know that it’s all about pizzicato.
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