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In Reply to: Brass Vibrato - sometimes you gotta have it! posted by Chris from Lafayette on March 21, 2007 at 21:11:13:
I think brass vibrato is less-offensive in contemporary works. Although I disagree about "Daphnis et Chloe".If there is one classical passage where vibrato in the brass is appropriate, it's the re-capitulation in the third movement of Rachmaninoff's Third Concerto. The trumpets basically play the main melody for the second time, and then the melody is "finished off", ending in a full orchestral climax. That melody is one of very few I actually prefer *with* vibrato. (And is played as such in a lot of cases.)
Another case is the trumpet melody in Resphigi's "Pines of Rome".... Even Bernard Adelstein does this with vibrato. Mainly because it is a "contemporary" melody, as opposed to a strict brass structure in a classical work.
A case where I think this is "optional" is the opening to the Ravel orchestration of Mussorgsky's "Pictures at an Exhibition"..... Although I personally prefer it played without vibrato. Another case is Prokofiev's Fifth Symphony.
But gawd, I also heard this done with the horn melody in the final movement of the Brahms One, and it was **horrible**. Brahms should **never** have vibrato in the brass.
Follow Ups:
In section work, no vibrato. For a solo passage, vibrato is an option, assuming the conductor is cool with it. That's how it works. As a stupid example, in Nutcracker I play a little 16 bar solo with vibrato, the rest straight tone.Don't know why everyone else in the orchestra is allowed to sing ('cept the poor clarinets) but not the brasses. You are free not to like it. ;-)
To Chris' point, the way the French brass players used to play vibrato is/was annoying, because it was very fast and very constant--no expressive use, just turn it on or turn it off. The Russians and Eastern Europeans used to play that way, too. Now that we have a world-wide corporate orchestra sound, that particular annoyance has abated.
. . .the way the French brass players used to play vibrato is/was annoying, because it was very fast and very constant--no expressive use, just turn it on or turn it off. The Russians and Eastern Europeans used to play that way, too.Well, you're talking to someone who loves Svetlanov's recording of Bruckner's Eighth! (But even I have to admit that this performance hardly sounds idiomatic - one reason being that wild Russian brass vibrato!) :-)
Never heard it, hope I can someday.I'll never forget hearing the Leningrad Phil in Symphony Hall in the early seventies. Unbelievable precision! (It was that or the gulag!)
But also the sound of ripping sheet metal whenever the brass got loud.
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