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In Reply to: RE: Uh. . . I think we're in agreement that one can use vibrato. . . posted by Chris from Lafayette on April 07, 2017 at 15:22:24
Yes indeed, but I was trying to say, it's no accident that more judicious use of vibrato, or lighter vibrato, lower pitch, and smaller ensembles and/or original instruments that are generally less powerful and loud are usually part of the HIP approach for 18th and early 19th century music. It was a quieter, pre-industrial time that called for a different aesthetic approach.
I think it's possible to recognize its value without setting up a HIP v. modern shootout at the OK corral.
"Judicious" use of vibrato and/or lighter vibrato too often ends up as the sonic equivalent of no vibrato.
Lower pitch, smaller ensembles - I'm generally OK with those performance elements (except for one-to-a-part choruses, Josh Rifkin style - that's a no-go for me!).
I don't mind quiet, but I do mind desiccated.
Reproducing as closely as possible the sound the composers themselves or their contemporaries would likely have heard is not an idea you have to embrace or reject fully at all times and in all contexts. The same goes with your critiques, which I certainly don't reject or disagree with entirely and in all contexts.
It's like the "Schoenberg ruined music for 50 years" argument. He didn't, nor was he the savior of Western music he hoped to be. Much to his own disappointment, Schoenberg's ideas were rejected by many of his major contemporaries, never mind his successors. You could argue ultimately he's had an impact in nearly any western music that gives a greater than traditional role to dissonance, but others have had similarly wide-ranging impacts.
There's no need to be rigid and dogmatic on either side with these things, I think.
Yeah, but it's KINDA true - and I say that in spite of the fact that "Verklarte Nacht" is one of my two favorite works ever composed. ;-)
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