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We learned that wind vibrato is sometimes determined by regional tastes (England vs Austria) and "fast" (vs

"slow") vibrato may be based upon a conductors' tastes.


As for wind and brass vibrato being a regional thing, I touched upon that issue regarding solo trumpet vibrato at the opening of Strauss' Also Sprach in Kempe's Dresden, (as opposed to Solti/CSO, for example) and -- of course -- there's that grotesque trombone vibrato in Mravinsky's Sibelius 7th. Mostly eschewed today, thank Zarathustra.

Also, if Toscanini gets his "warmth" by insisting strings speed up their vibrato, or -- as a Brit critic noted -- he request that vibrato *continue* during pianissimo passages, that suggests to sensible folk that their default was none at all, or "strangled" vibrato during quiet passages.

Oh, and vibrato is expected in Otello. Duh.

"Periodicity" works both ways. But keep dumbing it all down into pure black and white! : )





Edits: 11/27/21
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