Page 105 - Glasbenopedagoški zbornik Akademije za glasbo v Ljubljani / The Journal of Music Education of the Academy of Music in Ljubljana, leto 7, zvezek 16 / Year 7, Issue 16, 2011
P. 105
a Biffio, NEW EXTENSIONS OF THE BEAUTIFUL CELLO TONE
As Schnmidt-Mechau says, “Morgenlachen was inspired by the playing of the
Canadian violinist Malcolm Goldstein […] who developed an unusual movement
repertoire by improvising.” (Email 29.9.2009)
Discussion: Working process
The process of creation makes clear how open-minded the composer’s and
interpreter’s attitudes are with respect to the exploration of sound and movement.
They do not consider either sound or movement as an end in itself. However the
need to isolate elements triggers discoveries and inventions of movement
variations as new musical material. This arrangement itself has, in turn, brought
things to light, which they could not foresee in advance.
It is worthy of note that the cellist works from outside to inside. The reading
and practicing of movement indications makes him discover a specific sound,
which he needs as a mark for reproduction. On the other hand, the composer is
very much fascinated by the diversity of movements on the cello and he takes the
way via movement to sound differentiation.
Conclusion and perspective
Anomalous Low Frequencies as a complete break with the rules of bow
pressure and velocity have been analyzed in frequency analyses and in practice.
Different ways of building up mutiphonics are outlined in the context of
expanded knowledge of flageolet playing and bowing on the harmonic nodes of
the string.
Visible innovations have been made in the field of chordal play. On the one
hand, there is the entrance of two bows held, to some extent, in one hand, to some
extent played with two hands or the curved bow. On the other hand, diverse
scordaturas considerably extend the range of the cello, especially downwards,
and turn the conventional pitching upside down.
Their documentation supports the process of understanding as well as the
conveying of these techniques and therefore their reproducibility at any place.
Still the genuine artistic aspect of intuitive creating and finding of sound is not
supposed to stand back because the artist has his imagination, inner hearing and
proprioceptive at his disposal which are linked in a direct circuit.
In the New Music medium the “player-composer-composition” triangle is
enlarged by another factor: the dynamic of an unfinished developmental process.
This experience of developing contemporary music in an exchange together
with living persons is an important experience for every student and musician. It
also affects the interpretation of concluded works and music of past times.
Meanwhile didactics of traditional cello playing manners is very advanced,
the handling of contemporary works often appears as a confrontation with an
overabundance of unfiltered information and complex connections. And still, it is
105
As Schnmidt-Mechau says, “Morgenlachen was inspired by the playing of the
Canadian violinist Malcolm Goldstein […] who developed an unusual movement
repertoire by improvising.” (Email 29.9.2009)
Discussion: Working process
The process of creation makes clear how open-minded the composer’s and
interpreter’s attitudes are with respect to the exploration of sound and movement.
They do not consider either sound or movement as an end in itself. However the
need to isolate elements triggers discoveries and inventions of movement
variations as new musical material. This arrangement itself has, in turn, brought
things to light, which they could not foresee in advance.
It is worthy of note that the cellist works from outside to inside. The reading
and practicing of movement indications makes him discover a specific sound,
which he needs as a mark for reproduction. On the other hand, the composer is
very much fascinated by the diversity of movements on the cello and he takes the
way via movement to sound differentiation.
Conclusion and perspective
Anomalous Low Frequencies as a complete break with the rules of bow
pressure and velocity have been analyzed in frequency analyses and in practice.
Different ways of building up mutiphonics are outlined in the context of
expanded knowledge of flageolet playing and bowing on the harmonic nodes of
the string.
Visible innovations have been made in the field of chordal play. On the one
hand, there is the entrance of two bows held, to some extent, in one hand, to some
extent played with two hands or the curved bow. On the other hand, diverse
scordaturas considerably extend the range of the cello, especially downwards,
and turn the conventional pitching upside down.
Their documentation supports the process of understanding as well as the
conveying of these techniques and therefore their reproducibility at any place.
Still the genuine artistic aspect of intuitive creating and finding of sound is not
supposed to stand back because the artist has his imagination, inner hearing and
proprioceptive at his disposal which are linked in a direct circuit.
In the New Music medium the “player-composer-composition” triangle is
enlarged by another factor: the dynamic of an unfinished developmental process.
This experience of developing contemporary music in an exchange together
with living persons is an important experience for every student and musician. It
also affects the interpretation of concluded works and music of past times.
Meanwhile didactics of traditional cello playing manners is very advanced,
the handling of contemporary works often appears as a confrontation with an
overabundance of unfiltered information and complex connections. And still, it is
105
