Bariolage
[2] The term bariolage appears to have been coined in the nineteenth century to denote an eighteenth-century violin technique requiring flexibility in the wrist and forearm, the mechanics of which are not discussed by nineteenth-century writers.Bariolage is much more rarely employed during the Romantic period in the nineteenth century, but some notable examples of its use are found in Brahms's works.Brahms used this device in the String Sextet in G Major (where it occurs at the very beginning in the viola) and in the Third Violin Sonata, Op.Examples may be found in Mauricio Kagel's 1993 string quartet Notturno and the cadenza of Giacinto Scelsi's 1965 Anahit.[14] Elliott Carter adapted the technique to the harp in a solo work actually titled Bariolage (1992), which blends the device with trills and a harp technique called bisbigliando, "in a profusion of trilling passages and enharmonic unison colourings.
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