VICE OF VIBRATO

Evening Star, Issue 21138, 25 June 1932, Page 6

VICE OF VIBRATO

BRASS SOLO INSTRUftSEHTALISTS To a, musician the word “ vibrato ” lias a jarring sound, yet many of our brass solo instrumentalists arc making a feature of it. Years back the only time vibrato was introduced was by the strings of the theatre orchestra in incidental music during a pathetic dramatic scene. I believe the Americans call it “sob stulf.” liven then it was only lightly touched (writes \V. Huberts, in the ‘British Empire Bund Journal’). The present generation appears to have developed vibrato playing to such an extent that one wonders if their aural functions aro working properly, particularly brass players. Trombonists have also acquired the craze by means of a wrist shake. Vibrato may appeal to tlio musically illiterate, but to an intelligent musician the idea is appalling. Vibrato spoils the tonality of those who have acquired a good tone; vibrato throws the tonal pitch out of order; vibrato is unl.unoful, which is tlio worst that may be said about it. Vibrato, used extrancously by vocalists, is bad enough, but when it becomes a fetish with instrumentalists it is inlinitely worse. .1 wonder what musical critics would think, and say, it they saw performers on the oboe, llute, cor anglais, clarionet, and bassoon ‘‘ wobbling ” their instruments about trying to produce a vibrato cli'oct.

When one's'memory goes back to the beautiful tonality produced by the soloists (brass) of H.M. Guards bands, also the brass band soloists of twenty-five or thirty years ago, one cannot help but think that good tone production is gradually becoming a Inst art in music. When a musician has acquired the true technique of tone he should try and beautify it. not spoil it by shaking it.

1 do hope young players, who are working with the ideal of becoming good and efficient soloists, will pass this vibrato stunt by for what its musical value is worth. Showmanship in musicians of a type does not always count for ability. A good knowledge of music, coupled with the understanding of tlio capabilities of your instrument, is of far greater value tlian all the showmanship in the world. It you submit your playing to an adjudicator at a solo competition, bo only passes judgment upon what ho hoars, not upon tho attitudes

you adopt to produce what lie is listenin7 have written the above article with the solo idea of guarding young musicians against copying bad stylo and deportment, which is seldom seen in the stock in trade of a first-class instrumcnalisl. “ Sincerity of purpose to excel ” should bo a good motto to remom her. Train your cars to the most beautiful in music, leave the_“fnnuiosities ” to the clowns; that is their business.