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- W2023790883 abstract "There are two competing theories of vibrato usage in late nineteenth- and early twentieth-century orchestras coming from the historical performance movement. Roger Norrington contends that pitch vibrato in string ensemble playing was largely absent and not used in the modern, ‘continuous’ manner until the late 1930s and early 1940s. He cites as evidence Bruno Walter’s 1938 recording of Mahler’s Ninth Symphony with the Vienna Philharmonic. Nikolaus Harnoncourt, on the other hand, holds that the presence of vibrato in the Romantic orchestra was significant. Documentary evidence demonstrates Harnoncourt’s view to be correct. No substantive case can be made for a radical shift in vibrato performance practice, with the Second World War as the dividing line. Source material reveals a strong general continuity in vibrato levels, naturally modified from time to time by the demands of conductors and the need to find idiomatic styles for the range of repertory actually played." @default.
- W2023790883 created "2016-06-24" @default.
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- W2023790883 date "2012-01-23" @default.
- W2023790883 modified "2023-09-26" @default.
- W2023790883 title "'So klingt Wien': Conductors, Orchestras, and Vibrato in the Nineteenth and Early Twentieth Centuries" @default.
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- W2023790883 doi "https://doi.org/10.1093/ml/gcr125" @default.
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