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In Reply to: RE: Yup--Leopold Auer. For some reason... posted by C.B. on February 22, 2015 at 12:25:45
. . . is another part you and Roy would do well to re-read. I'll save you the trouble - here's Auer's text:But the other class of violinists who habitually make use of the device—those who are convinced that an eternal vibrato is the secret of soulful playing, of piquancy in performance—are pitifully misguided in their belief...this curious habit of oscillating and vibrating on each and every tone amounts to an actual physical defect, whose existence those who are cursed with it do not in most cases even suspect...[a]s a rule I forbid my students using the vibrato at all on notes which are not sustained, and I earnestly advise them not to abuse it even in the case of sustained notes which succeed each other in a phrase.
So. . . what part of "on notes which are not sustained" do you not understand? I've made that point repeatedly, both below and years ago when this subject came up. It's impossible to apply vibrato to rapidly moving notes. Duh!
And then there's Baily's own narcissistic summation: "And our young musicians aren't buying the decisive and anachronistic contentions of this article. Many of them embrace both period and modern instrument technique and practice, and they're becoming really good at it. Rather, it seems like this article is intended to start a fight that was resolved a long time ago. What a shame."
Not at all! The true shame is that the the spread of this "vibrato as an ornament" thinking is ensnaring even some good present-day players, and we have people like Bailey, safely ensconced in their academic playpens, spreading this kind of musical Ebola with abandon. (And I'm serious about the disease comparison, because playing like this sucks the life out the music.) I promise you that I and others will never rest until this kind of irresponsible nonsense has a wooden stake pounded through its heart!
Edits: 02/22/15Follow Ups:
You seem to assume the main point of the HIP movement is to use as little vibrato as possible. However, as CB correctly points out, vibrato technique is not the main focus of the HIP movement, and the idea of using but not abusing vibrato can be found in treatises from the 18th century to today, so that is hardly a unique HIP principle.
Certainly there are other aspects of HIP that I loathe - messa di voce bowing, anyone? - but I was just confining discussion to the quality mentioned in the Strad article, the quality which listeners will notice most easily when they listen to HIP groups, and the quality which I would call a horrible mannerism generated by 20th century academicians. As I mentioned below to C.B., I've still got my wooden stake and mallet at the ready - but alas, the pandemic has spread significantly!
Nevertheless, thanks for the inroads, Chris!
Jeremy
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