Re: string orchestra vibrato

[Sam Weiss <SamWeiss...>]

Thanks for that summation of string vibrato protocol.  As a trumpet player 
in a community concert wind band, I'm always aware of the need to 
practically eliminate my vibrato, even for the occasional solo -- unless 
for a special effect, which tends to prove the rule.  But strings seem to 
be immune from that restriction.  Any thoughts from players of other 
orchestral instruments?

At 12:19 AM 9/2/03, suzuki (at) cwnet(dot)com wrote:

>Wow.  Thanks for the well-expressed insights, very interesting.
>
>In my past life as an orchestra violinist, vibrato was never discouraged 
>as something that would keep the string section from playing in tune.  In 
>fact, passages where the composer specifically asks for non-vibrato are 
>the most challenging to play in tune and with feeling.  Orchestra string 
>vibrato, once mastered, is a very effective way to "hide abd blend" 
>intonation as well as bow distribution problems.  In amateur orchestras, 
>string sections are sometimes asked to practice without vibrato i/o to 
>improve intonation, as a beginner's vibrato can be wobbly and throw the 
>left hand out of balance.  For concerts and recordings, the nice fat even 
>buzz of a string section vibrato is something American audiences have come 
>to expect and love for classical and romantic music.  For the same reason 
>, string players are encouraged to avoid the open strings (they can't be 
>vibrated and will show mercylessly if the instrument goes out of tune).
>
>Vibrato tends to get thrown out completely for Baroque 
>performances.  Since it's a challenge to make the sound come alive without 
>a Baroque bow, gut strings, and fundamentals of Baroque ornamentation 
>(most ornamentation is not printed in the sheet music), non-vibrato makes 
>for many well-intentioned but terribly boring Baroque orchestra 
>performances that could benefit from an occasional tamed vibrato.
>
>String soloists use various speeds and widths of vibrato to alter the 
>timbre of a note or passage.  Orchestra string vibrato tends to be more 
>uniform (narrow width, medium speed).  Interestingly enough, the vibrato 
>sound of old orchestra recordings from the 1920s and 30s is much less 
>conformist and does not blend as much as today's typical orchestra.  The 
>old-time vibrato makes for a somewhat chaotic, exciting (everybody is 
>talking at the same time but saying something different) sound.
>
>
>-Annette Brodovsky

Cantor Sam Weiss === Jewish Community Center of Paramus, NJ 

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