OK, I'll go with that one. But it's very much the same thing. Sadly I think Goebbels got it just about right, though not just about the English...
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You mean what Norrington says about vibrato? Unlike you I think Norrington is a fine and interesting musician, but I also think he does make a polemical rather than generally convincing case: my suspicion is practice varied, locally and in other ways and according to context. Music making has, of course, historically become more homogeneous, at least in the context of European etc. classical music. Orchestras sound more alike now, techniques are more standardised (I'm sure that's true of vocal technique. It would be fascinating to magically be able to hear Monteverdi's contemporaries singing Monteverdi. Or Machaut's Machaut!)Originally posted by Eine Alpensinfonie View Post
In C18 music I would like to hear more performers employ vibrato as an expressive ornament (since that seems to be how it was considered). Anton Steck is one who does. Sorry, not portamento on-topic.Comment
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It will surprise you, and no doubt many others, to hear that I agree with you. The aforementioned knight's justifications for playing in the style he prefers are the issue.Originally posted by Julien Sorel View Post
Re portamento, Elgar didn't seem too bothered one way or the other. His early recordings contain much more of it than the late ones, as that was what the performers did. There's a direction in the slow movement in the 2nd symphony which should be observed, however. Barbirolli really milks this.Comment
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Some detailed comments on the history of portamento in violin playing from Joachim to Hilary Hahn here (about half-way down the page, but also passim):
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