pizzicato

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pizzicato

pizzicato (pĭtˌsəkäˈtō), in music, the technique of plucking the strings of an instrument that is usually bowed. Directions for playing pizzicato are found in early 17th-century music. Paganini introduced left-hand pizzicato, making it possible to play bowed tones and pizzicato tones simultaneously or in alternation.

The following article is from The Great Soviet Encyclopedia (1979). It might be outdated or ideologically biased.

Pizzicato

(1) The method of producing sound on a bowed stringed instrument by plucking the strings.

(2) An instrumental piece, the performance of which is based on the above method.

pizzicato

Music

1. (in music for the violin family) to be plucked with the finger

2. the style or technique of playing a normally bowed stringed instrument in this manner

Collins Discovery Encyclopedia, 1st edition © HarperCollins Publishers 2005

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The great Jascha Heifetz declared it to be unplayable and, although Britten revised and cut some flashier passages, the solo part is still very demanding - but Byers handled all the triple-stopping and left hand pizzicato with complete assurance.

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This delightful aperitif had a clicky castanet feel created by synchronised pizzicato and staccato playing and the final tutti flourish left me wanting more.

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The score is very string-heavy, including a crazy Fortepiano Continuo and a solo Mandolin played pizzicato at one point.

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And in addition to an orchestral programme which includes The Blue Danube Waltz, Radetzky March, Wiener Blut, Auf der Jagd, Pizzicato Polka, Cuckoo Polka, Tritsch Tratsch Polka and The Laughing Song from Die Fledermaus, an integral part of the evening's entertainment will be provided by the Johann Strauss Dancers, who perform in period costume.

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From "Boisterous Bourre" to "Playful Pizzicato", and "Sentimental Sarabande" to "Frolicsome Finale", this work almost demands the listener to reminisce their youth.

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Opening with jerky pizzicato giving way to interweaving Caribbean-flavoured phrases performed at the instruments' most extreme registers, it's an infernal dance that is at once addictive and repellent.

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In the long first movement, he drew profound effects, the scherzo was a pizzicato tribute to the strings and the finale rose to a truly royal occasion.

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Looking younger than most of the orchestra, he opened the Tchaikovsky with a suave, easy tone, nicely threading over the pizzicato bass and cello work.