Page 97 - 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. 97
a Biffio, NEW EXTENSIONS OF THE BEAUTIFUL CELLO TONE
Figure 18: Mirror image moves
(Rojko 1986/1990: 3)
Figure 19: The author, demonstrating the symmetrical playing technique in
waves
The passage pictured above is introduced by the only word spoken by the
cellist: an expanded “Ja” [= yes] as a statement for the enlarged space the cello
takes up.
Rojko uses a very advanced form of seagull flageolet and established the
“mute bow”, lying on the string and disturbing the vibration the other bow is
generating. This damping bow triggers uncontroled partials.
Carlo Forlivesi: Pú Mesto (2003)
Piú Mesto (2003) is an homage to Bartók’s 6th string quartet, in which he uses the
term “mesto” [= sad] several times to express his desolate feelings.
Carlo Forlivesi was given an award for his research on traditional Japanese
music, which led him to long study visits in Japan. Forlivesi feels especially
97
Figure 18: Mirror image moves
(Rojko 1986/1990: 3)
Figure 19: The author, demonstrating the symmetrical playing technique in
waves
The passage pictured above is introduced by the only word spoken by the
cellist: an expanded “Ja” [= yes] as a statement for the enlarged space the cello
takes up.
Rojko uses a very advanced form of seagull flageolet and established the
“mute bow”, lying on the string and disturbing the vibration the other bow is
generating. This damping bow triggers uncontroled partials.
Carlo Forlivesi: Pú Mesto (2003)
Piú Mesto (2003) is an homage to Bartók’s 6th string quartet, in which he uses the
term “mesto” [= sad] several times to express his desolate feelings.
Carlo Forlivesi was given an award for his research on traditional Japanese
music, which led him to long study visits in Japan. Forlivesi feels especially
97
