Early Music America Summer 2013 - (Page 3)

Early Music America Board of Directors President Robert A. Johnson readerforum Buchanan Ingersoll & Rooney P .C. Vice Presidents Thomas Forrest Kelly Harvard University Angela Mariani Harmonia, Altramar, Texas Tech University Secretary Charlotte Newman Arts Administrator Assistant Secretary Kathleen Spencer Franklin & Marshall College (ret.) Treasurer Christopher Bone Actuary Assistant Treasurer Marie-Hélène Bernard Handel and Haydn Society Lewis Baratz Certiﬁed Project Manager; Harpsichordist Thomas Cirillo Portland Baroque Orchestra Robert Cole Cal Performances (ret.) JoLynn Edwards University of Washington, Bothell Raymond Erickson Keyboardist; Music Historian Valerie Horst Amherst Early Music David Klausner University of Toronto Hank Knox McGill University; Harpsichordist Alexandra MacCracken Ensemble Gaudior Elizabeth Macdonald Washington University Michael McCraw Indiana University Sarah Mead Brandeis University Robert Mealy Juilliard School of Music Charles Metz Optometrist; Harpsichordist Debra Nagy Case Western Reserve University Rachel Barton Pine Violinist Daniel Shoskes M.D., Cleveland Clinic Melissa Smey Miller Theatre, Columbia University Nell Snaidas Soprano Murray Forbes Somerville Music City Baroque Orchestra Jeffrey Thomas American Bach Soloists Ruben Valenzuela Bach Collegium San Diego Birgitt van Wijk Heritage Helicopter Services; Ars Lyrica Houston Staff Executive Director Ann Felter Membership Director Dina Scarpino Advertising Manager Patrick Nugent of continuous vibrato. Are we really meant to believe that While I agree completely with David the Vienna Phlharmonic sounded the Hurwitz (In Conclusion, Spring 12, page same in 1960 as in 1897? By this time, 72) that a “pall of timbral uniformity” nearly all the wind instruments would mars many performances—orchestral have been updated, the gut E string and otherwise—this, in my opinion, is not the result of some imagined conspir- replaced by steel, and most other gut acy against vibrato but rather of equating strings replaced with silver over gut, if expression with vibrato. Those who, like not all metal. (A Viennese company, Tomastik-Infeld, founded in 1919, was, Roger Norrington, explore other means and continues to be, a pioneer in metal of tonal variety are working to remedy and synthetic string manufacture.) These precisely the situation that Mr. Hurwitz constitute major changes, even if the decries. The restoration of expressive bow technique—expanding the affective musicians, conductors, and audiences believed that they held faithful to repertoire—is, or ought to be, at the hallowed traditions. heart of historically informed string Just ask any string player who plays playing. both modern and period instruments Richard Taruskin and Bruce Haynes have argued that the very existence of an whether the modern wants more vibrato; the metal string positively cries out for early music movement may have to do more with present-day attitudes and aes- at least some. In my view, gut-wound thetics than with those of the periods in strings require a far more chaste vibrato than all-metal or synthetic. And—dare I question. In this view, many aspects of present-day interpretation, modern and make this suggestion?—loosen your bow! This alone will allow for a warmer tone historically informed, are similar: uniform and clean with relatively dry articu- and more flexibility of expression. We limit left-hand vibrato to encourage the lations and textures and a tonal pallette bow to reclaim its former plasticity and that is, above all, even. Vibrato, then, to vary the quality, intensity, and density would be either a consistent tonal constituent or nonexistent—at any rate not of the sound. We do not miss the vibrato so much; gut strings are inherently colorsomething that is introduced according ful. At times we want to heighten the to individual taste or feeling. But this approach to music-making is historically sound, which might invite some vibrato, but always the first response comes from untenable, as well as dull. Furthermore, Mr. Hurwitz seems not the bow. Those of us on this side of the divide (among whom I count Mr. Norto understand that (as the New Grove II rington) actively look for those places article “Vibrato” puts it) “Baroque or where vibrato is called for in 19th-centuClassical kinds of vibrato are only disry music (and earlier) as well as other tantly related to our present concept.” expressive interpretive practices. His citations from Haydn, Stamitz, and Judson Griffin Boccherini have nothing at all to do with New York, New York left-hand vibrato; they are examples of bebung, or bow vibrato, a common device for string players since at least the Speak Up! early 17th century. Liszt’s vibrato markEarly Music America magazine welcomes your commentary. Please include your name, city of ing likely describes a pedal effect, or falls residence, e-mail address, and phone number into the same category as the single-note with all correspondence. Send to: Reader crescendo on the piano. Whatever it Forum, Early Music America, 472 Point Road, means, any possible analog to orchestral Marion, MA 02738; fax: 508-748-1928; or playing would refer to the use of vibrato editor@earlymusic.org. Early Music America magazine reserves the right to edit letters for in a local or ornamental fashion. Nothclarity, style, and length. ing Mr. Hurwitz cited suggests the use Vibrato Expression Early Music America Summer 2013 3

Table of Contents for the Digital Edition of Early Music America Summer 2013

Editor's Note
Reader Forum
Sound Bytes
Profile: Christopher Jackson
Musings: When the Music Becomes Ours
Recording Reviews
Early Music, 21st-Century Style
The Indigenous Musicians of Cuzco
Bird Quills, the Art of Touch, and Other Pleasures
Pallade Musica: A Swift Rise, All'Italiana
Book Reviews
Ad Index
In Conclusion: Finding "Local Content" in the Music of New Spain

Early Music America Summer 2013