Allegriolino

The intention of this cycle of works is to familiarise the young musician with issues that are common in today's scores. From the time of their youth, they should acquire a taste for experimentation and then this spirit of sonic adventure should be preserved when they study scores from the traditional repertoire.

Thus, in his first piece, ROBO-SCRATCH, he would briefly abandon the "aesthetics of beautiful sound" in favour of a harsher sound. Other problems raised by this piece relate to the use of harmonic sounds in glissando, percussive sounds made by tapping the fingerboard with the fingers.

The second piece, TRULLY-TREMENDULLY, focuses on the use of tremolo technique in various poses, bow glissando as well as glissando on the natural harmonics of the sound.

The third piece, GLISSTORTONE, draws attention to the glissando technique.

The fourth piece, HYDRO-ROMANCE - SINGING IN THE RAIN, proposes familiarisation with proportional notation - a notation in which improvisational freedom is present to a greater extent, but also with a tremolo technique between a natural sound and an artificial harmonic sound.

The last piece, PIZZ. BARTOCHITZ, highlights the pizzicato technique, both the standardised version and a harder form of this technique often used by Béla Bartók.

Allegriolino is revised by Cristina Malancioiu, violin lecturer at the West University of Timisoara, Faculty of Music and Theatre, member of the Atem Ensemble.