Word: pizzicato
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Dates: during 1970-1979
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...Venuti have been the instrument's two most successful improvisors, each using a fluid instrumental technique that can approach the offhand fluency of a saxophone or trumpet. Jenkins is the most violinistic violinist in improvised music; his effective use of double-stops (two notes bowed together), rapid bowing, and pizzicato techniques places him much closer to the classical violin tradition than any of his predecessors in jazz...
...cadaverous," and there was something so supernatural about 19th century Violin Virtuoso Nicolo Paganini "that one looked for a glimpse of a cloven hoof or an angel's wing." Onstage, the maestro would often contort his body into bizarre stances. His tours de force, like playing a pizzicato accompaniment with his left hand while bowing with his right, prompted audiences to whisper that Paganini was in league with the devil. But alas, he was merely mortal, according to an article in the Journal of the American Medical Association. The violinist, writes Dr. Myron Schoenfeld of Scarsdale, N.Y., probably suffered...
Rostropovich has a distinctly colloquial talent for giving instructions to the orchestra. For a crisp pizzicato, he says: "I want hear champagne corks popping." For a soft passage: "Before the sound is coming, smell some bee-oo-tee-fool flowers." For a lyrical passage: "You don't say 'I LOFF YOU!' You whisper [cuddling an imaginary violin] 'I LOFF YOU.' " For a subito forte (to play suddenly loud): "Imagine you with your girl friend. Suddenly your wife come into room. That is subito forte...
Walking into such a pizzicato brouhaha merely seemed to strengthen Barlow's resolve. Tristan, it turns out, is in her tea leaves or, rather, the numerology she is fascinated by. It was the first opera she ever attended, a Met performance with Astrid Varnay. When Barlow sang the role the first time herself, it was in Kiel, Germany, in 1967, and the singer she replaced was, of course, Varnay...
...only problem was a slight sluggishness, caused not by the tempo but by the attacks, which were not quite sharp, or quite clean. A pizzicato effect, in the second movement, was missing. The French horns and bassoons were excellent, and the symphony--like most well-known pieces--was a definite crowd-pleaser. One departure from the strictly traditional was the use of only one bass. Most orchestras the Bach society's size would have at least 3 or 4 double basses. Yet the use of only one was quite pleasant, giving the orchestra a buoyant sound...