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Re: The Great Vibrato Debate

To: brass-band@xxxxxxxxxxxxxxxxxx
Subject: Re: The Great Vibrato Debate
From: tichelaar@xxxxxxxxxxx (Edo Tichelaar)
Date: Tue, 21 Jan 1997 13:46:58 +0100
Priority: low
Reply-to: brass-band@xxxxxxxxxxxxxxxxxx

Greetings, y'all!

>> > Further, one need only examine the realm of non-brass band musical
>> > expression to find countless examples (good, bad and ugly!) of
>> > vibrato. It seems that the only real exception to the 'rule' is
>> > orchestral brass! Does anyone else see a pattern here? Even as
>> > recently as last year, I heard rumours that Philip Smith himself has
>> > suspiciously been an advocate of orchestral-brass vibrato in certain
>> > instances!

He is, actually, just listen to the NYP's recording of Gustav Mahler's 5th
symphony (the one which is much like a trumpet concerto with orchestral
accompaniment), for example. In my opinion he builds up quite a lot of
musical tension using a *little* vibrato. Gets to my spine every time!

A few months ago he visited Holland during his European tour and gave a
masterclass in one of my country's leading conservatories. Back then, he
also scratched the surface of the subject of our ongoing debate. His opinion
on the subject seemed te be that vibrato is a useful tool to extend the
range of musical expression. However, every skill must be complemented with
proper judgement ...

Phil Smith uses more vibrato when playing the flugel horn or playing a
Gershwin-ballad than playing a Tchaikovsky-symphony, which is an example of
what he means - or at least I think he means - with 'proper judgement':-)

Edo Tichelaar


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