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Klarinet Archive - Posting 000061.txt from 2001/04

Subj: Re: [kl] Fw: [kl] RE: Jonathan Cohler and friends in
Date: Thu, 5 Apr 2001 02:20:07 -0400

At 10:51 AM 4/4/01 -0700, you wrote:
>You could equally well argue that tastes have changed, and that just as
>Bach is played
>on a piano using dynamics today, contemporary flute or recorder players
>have evolved to a style of using more vibrato. Which is correct? Neither.


You are not allowed to call a contemporary flute a flute. It is nothing
like the flute of the 1700s, nor does it even sound like


>It is difficult to find a right/wrong regarding vibrato if one is not
>claiming to be consistent with some historical or current paradigm of
>performance. Each player is left to work out an internal aesthetic that
>fits for her/his own musical sensibilities. Anything else would be
>elevating one's own taste to a supposedly rational standard of
>correctness, which to me is a category error.

One of my colleagues, Bill West (our saxophone/flute/theory teacher),
mentioned how he listened to different vocal artists - notably Barbara
Streisand - for use of vibrato. He said it really made a big difference in
the way he developed his tastes for using vibrato in his classical
saxophone playing. BTW, Bill owns two beautiful reproductions of Baroque
Flutes, and he is a fantastic performer on both of them.

The discussion of vibrato and aesthetics is very interesting.......

Best wishes,
Roger Garrett

Roger Garrett
Clarinet Professor
Director, Symphonic Winds
Advisor, Recording Services
Illinois Wesleyan University
School of Music
Bloomington, IL 61702-2900
(309) 556-3268

"A man never discloses his own character so clearly as when he describes
Jean Paul Richter (1763-1825)

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