Bröder marks his Pizzflaggliss as a personal experiment as far as it represents his first discussion within the field of an electronic studio. The title of his 1995 arised composition Pizzflaggliss tells already that the three techniques of playing pizzicato, flageolett and glissando are raised here to the topic. To the range of the briefly articulated sounds belongs easily plucked like more strongly attacked pizzicati, in addition the violently back-snapping on the fingerboard, the so-called Bartók Pizzicato, and in a wider sense also the throw bow technique on one play, the ricochet. With the partial vibrations producing flageolett are caused tone colors of spherical nature, partly supplemented by rubbing noises on the table of the violoncello. The element of the glissando opens a wide field from the vibrato over the trill up to into extreme positions referred tone or also tone field. Within the duo instrumentation the tape, synthetically provided by Bröder, usually undertakes the function of a prism, by which the more distinguished sounds of the acoustic cello become enlarged and whose more comprehensible structures are refracted into a number of facets. The tape gives fixed times to the cellist, in which this one can react then within a temporal margin. Otherwise the positions of the two sources of sound are to be regarded as equal. In an actual sense there is neither a solist nor an accompanying tape, but rather two opposite numbers, who in places approach to fusion, thus at least in part develop a hyperinstrument. Really a permanent reflection of the duet partners takes place.
Veronika Jezovšek
(Introduction to the transmission "Stroking and striking: about the experimental play desire in the nineties", Hessischer Rundfunk, 7.3.2000)