Vibrato

In the classical and early romantic eras, how much vibrato would have been used by:

1) Orchestral strings (i.e. the various members of the string family in an orchestral setting)

2) Solo stringed instrument

3) Orchestral winds / brass

4) The human voice, especially in opera.

5) Strings in a chamber setting

Thanks if anyone can answer this.

Daniel, have I told you lately how much I dearly love you? :innocent:

I'm just so happy that someone gives a damn, because it's an extremely important consideration.

I happen to know a bit about this. I'll respond later today.

Daniel, have I told you lately how much I dearly love you? grin.gif

Aww thanks :innocent:

I was hoping you might reply.

A lot of study has been done on this subject as it relates to performance practice, style and interpretation

Thanks alot!

That's very interesting.

I'm a halfway fan of period instruments, because I appreciate them, and like recordings with them, but I also like some old stuff played in a modern way.

I've actually been considering getting a fortepiano....

I've played a fortepiano belonging to pianist Robert Winter, who was a professor at the time at the University of California at Los Angeles (UCLA). It was a copy of Mozart's piano, and as such was of great interest to me. What a revelation it was to play.

I've played and sung with a lot of "early music" ensembles, and this is what I've gleaned from that experience. I'm glad it was interesting, and hope it was helpful.

Yes, I should have said helpful, for it definitely was.

I sometimes wish opera singers would use a touch less vibrato - I think it has a muddling effect on the melody, which is annoying. I love the sound of a pure tenor voice, with gentle vibrato (my ideal Tamino)

How did you find the fortepiano? How did it meet your expectations?

Did it have a knee lever? Or any kind of pedal at all?

Sorry to keep on with the questions, but I'm very curious.

I've heard the Turkish rondo played on Mozart's own piano, and possibly some concerto movements.

I rather like the sound, preferring it when it sounds least like a harpsichord.

Edit: I just read this in a letter of Mozart - it might be of interest to someone.

Originally posted by W.A.Mozart

The human voice vibrates naturally - but in such a way - to such a degree that it all sounds

beautiful - it is the nature of the voice. We imitate such effects not only on wind instruments, but also

with violins - even on the clavier - but as soon as you go beyond the natural limits, it no longer sounds

beautiful - because it is contrary to nature"