# Vibrato



## HarpsichordConcerto (Jan 1, 2010)

What are your views on using and hearing *continuous vibrato*, in particular on instrumental music (from any music period you wish to comment about)? I would love to hear the views in particular from professional players here, and how/what you were taught versus what is actually done in real performances today.

To sum up (please correct me if I am wrong, as I am no musician):-

Some research/opinion maintains that continuous vibrato is a practice of the 20th century, invented by Fritz Kreisler and his associates/colleagues. One school of thought suggests that vibrato was used *selectively* during the late Classical/Romantic period onwards, and even composers like Wagner when conducting his music did not use continuous vibrato. We all would probably agree that at least some vibrato adds emotional depth, certainly in key passages of a suitable score, however using it continuously may or may not be best in the interest of a particular piece.

Is it true that Bela Bartok specified on some of his string quartets not to use any vibrato at all? In chamber music like string quartets (from any period), the extent of vibrato usage can really make a significant difference on how the work sounds (whether played on gut strung or metal strung string instruments).

I'm of the view that the earlier the piece was composed, the more critical it is that vibrato should be used selectively. It then becomes a real matter of artistic taste of what is precisely meant by the word "selectively". This is where performers can really add their opinion.

Your views, please.


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## Sid James (Feb 7, 2009)

I'm no expert, but I don't mind a bit of vibrato in a live performance, where the musicians have to project the sound of their instruments in a hall. But I don't really like it on a recording. I've never heard an instance of "continuous vibrato" though. Can you give us some examples - things you've either heard on recordings or in live performance?


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## classidaho (May 5, 2009)

Every time I watch Yo Yo my finger tips hurt....... I do love any vibrato from any bow over strings..........especially cello.


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## Herkku (Apr 18, 2010)

The discussion was to be about instrumental music in particular, but I would add a comment about vibrato and singing. Before I began listening to classical music seriously, the thing that mostly estranged me from classical vocal music was just the vibrato. I liked singers who sang with minimal vibrato, such as Emma Kirkby. Gradually though, I began to stand it more and more, and in the end I learned to appreciate it as completely natural. Now it would be very difficult to imagine romantic singing wihout vibrato! It can be excessive, but that is the case with every other effect in music as well.


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## HarpsichordConcerto (Jan 1, 2010)

Yes, I think it really is all about artistic taste of the performer, whether instrumental or vocal, in how much vibrato to use judging by how the piece sounds.

Here's an old school example (I guess) of heavy vibrato on a Mozart violin rondo. Heifetz seemed to squeeze in vibrato whenever he could. It just doesn't sound like "Mozart" to me.


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## superhorn (Mar 23, 2010)

Roger Norrington's pseudo authentic performances of 19th and early 20th century performances eschew string vibrato altogether. But it's known that string vibrato WAS used to some extent at this time. Norrington is just plain deluded. 
I'm a child of my time,and I grew up accustomed to string vibrato from the time I discovered classical music in the 60s as a teenager,before the period instrument movement took over 
musical life,for better or worse. 
Vibratoless string playing just doesn't sound natural to me. It's the aural equivalent of flat champagne to my ears. A couple of years ago,I heard Norrington's recording of the Mahler 4th on Hanssler with the Stuttgart radio symphony. No string vibrato. It sounded weird to me.
The ironic thing is that a musician who had played under Mahler in the New York Philharmonic 
when he was music director there areound 1908 declared many years later when interviewed about his experiences playing under him said that the composer/conductor was always asking for "more vibrato" from the strings in rehearsals ! 
So much for Norrington's "authentic" Mahler.


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## Lukecash12 (Sep 21, 2009)

Andre said:


> I'm no expert, but I don't mind a bit of vibrato in a live performance, where the musicians have to project the sound of their instruments in a hall. But I don't really like it on a recording. I've never heard an instance of "continuous vibrato" though. Can you give us some examples - things you've either heard on recordings or in live performance?


Example? In Rachmaninov's piano concertos, the vibrato seems pretty continuous to me.


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## HarpsichordConcerto (Jan 1, 2010)

superhorn said:


> Roger Norrington's pseudo authentic performances of 19th and early 20th century performances eschew string vibrato altogether. But it's known that string vibrato WAS used to some extent at this time. Norrington is just plain deluded.
> I'm a child of my time,and I grew up accustomed to string vibrato from the time I discovered classical music in the 60s as a teenager,before the period instrument movement took over
> musical life,for better or worse.
> Vibratoless string playing just doesn't sound natural to me. It's the aural equivalent of flat champagne to my ears. A couple of years ago,I heard Norrington's recording of the Mahler 4th on Hanssler with the Stuttgart radio symphony. No string vibrato. It sounded weird to me.
> ...


That's the sort of "evidence" we need to read. It's very interesting. I think for works as relatively "modern" as Mahler, having no vibrato is probably not in the interest of the works. I can't imgaine Mahler conducting his own symphonies without any vibrato.


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## gurthbruins (May 12, 2010)

HarpsichordConcerto said:


> Yes, I think it really is all about artistic taste of the performer, whether instrumental or vocal, in how much vibrato to use judging by how the piece sounds.
> 
> Here's an old school example (I guess) of heavy vibrato on a Mozart violin rondo. Heifetz seemed to squeeze in vibrato whenever he could. It just doesn't sound like "Mozart" to me.


Gee, I enjoyed that video! Heifetz has been one of my heroes since the year dot, I have even written about his character in relation to his astrology, but this is the first time I have ever laid eyes on him!
I can only say that performance sounded very fine to me.

I studied the violin for a year when I was 26, and I found that using vibrato made it much easier to play in tune: it's a sort of trial and error process, and you can more easily tell which note sounds right. You can even sort of feel it by the sensation of touch.
I remember also that when Menuhin learnt the violin his teacher told him very soon that vibrato was the great secret to playing well.


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