Author: John Peacock
Date: 2022-12-26 22:55
Firstly, note that "search" will show you that this same topic has been extensively aired in years gone by.
To add to that material, let me comment that I recently had the privilege of playing the Elgar Cello Concerto with Robin Michael, the principal cello of John Elliot Gardiner's ORR period band. It was a revelation, because the vibrato wasn't always on in the way that is in just about every other performance I've heard. And it wasn't a Norrington-style straight sound, either: some notes were pure, some started pure and developed vibrato, and others were intensely vibrated from the start. It was a master class in how to use vibrato selectively as an expressive device.
I don't see why classical clarinettists shouldn't heed this lesson. I grew up with Brymer and de Peyer, but their vibrato seems too much to me now. On the other hand, flautists of their generation, like Galway, used massive amounts and it's a relief that modern players like Pahud make a much cleaner sound. Such variations with time should encourage us to take the freedom to use vibrato where it can be helpful, either in warming up a shrill altissimo note, or purely as a element of phrasing. I've noticed Martin Frost do exactly this, and I can't see how anyone could object to this tasteful example:
https://www.youtube.com/watch?v=gXsk1KqOAO8
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The Clarinet BBoard
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