tag:blogger.com,1999:blog-5607352.post116233036360876589..comments2024-03-29T04:15:17.481-05:00Comments on <a href="http://ionarts.blogspot.com/">Ionarts</a>: Interview with Pinchas ZukermanCharles T. Downeyhttp://www.blogger.com/profile/14978821617871429169noreply@blogger.comBlogger7125tag:blogger.com,1999:blog-5607352.post-35151338759164585872009-02-14T09:29:00.000-05:002009-02-14T09:29:00.000-05:00Anyone who has played on gut strings knows that fu...Anyone who has played on gut strings knows that full, luscious vibrato does not sound good on them. By contrast, metallic strings, which lack the natural resonance of gut, require vibrato to prettify the sound. This is why the switch to metallic strings after World War I was accompanied by a switch of vibrato being a consciously applied expressive device to being a mechanical habit. One can Michael De Sapiohttps://www.blogger.com/profile/03971364262671562750noreply@blogger.comtag:blogger.com,1999:blog-5607352.post-1162493650545260322006-11-02T13:54:00.000-05:002006-11-02T13:54:00.000-05:00I think he is completely missing the point of the ...I think he is completely missing the point of the non-vibrato theory. If vibrato was not a normal part of the performance tradition in the 18th and 19th centuries, then the composers would have no reason to indicate "non-vibrato." Pinchas would make a better argument that modern ears expect vibrato, thus that is the authentic performance. I think labelling performances as "authentic" or "Scotthttps://www.blogger.com/profile/01286095156825716887noreply@blogger.comtag:blogger.com,1999:blog-5607352.post-1162437085031339352006-11-01T22:11:00.000-05:002006-11-01T22:11:00.000-05:00Will fix that. Thanks for pointing it out.jflWill fix that. Thanks for pointing it out.<BR/><BR/>jfljflhttps://www.blogger.com/profile/03017753357752263113noreply@blogger.comtag:blogger.com,1999:blog-5607352.post-1162436129227220672006-11-01T21:55:00.000-05:002006-11-01T21:55:00.000-05:00Wait, seems as if one is the Zukerman wma and one ...Wait, seems as if one is the Zukerman wma and one is a Norman Scribner wma.<BR/><BR/>-JoelAnonymousnoreply@blogger.comtag:blogger.com,1999:blog-5607352.post-1162435500174429012006-11-01T21:45:00.000-05:002006-11-01T21:45:00.000-05:00FYI, the link for the mp3 is coded as the same as ...FYI, the link for the mp3 is coded as the same as the link for the WMP file. <BR/><BR/>-JoelAnonymousnoreply@blogger.comtag:blogger.com,1999:blog-5607352.post-1162424587837076332006-11-01T18:43:00.000-05:002006-11-01T18:43:00.000-05:00Thanks for the comments... - perhaps you find he m...Thanks for the comments... - perhaps you find he makes a better case if you listen to the whole interview...? I was just paraphrasing parts of a ~16-18 minute interview.jflhttps://www.blogger.com/profile/03017753357752263113noreply@blogger.comtag:blogger.com,1999:blog-5607352.post-1162401675798640542006-11-01T12:21:00.000-05:002006-11-01T12:21:00.000-05:00Thanks for your excellent work, Jens!*..."Non-vibr...Thanks for your excellent work, Jens!<BR/><BR/>*<BR/><BR/>..."Non-vibrato is like making a picture without ever taking the pencil off the paper. What kind of picture would you be getting!?"<BR/><BR/>I don't really get this point. If he had said line drawing _without shading_ I might have better understood him.<BR/><BR/>And if he had made the comment that writing 12-tone music was like drawing Garth Trinklhttps://www.blogger.com/profile/11084463787729969177noreply@blogger.com