gregg@azure.UUCP (Greg Gadeholt) (03/08/84)
Ken Perlow made a couple of statements that could muddle a discussion of original instruments vs. modern instruments. (His article was a followup to an article regarding temperment, but the article seemed to be going off to a new topic.) Ken said that he didn't care for the sound of Mozart on modern instruments, especially after hearing music performed on original (non-modern) instruments. That's fine; I have no quarrels with this opinion. In fact, I haven't even reached a personal conclusion about the merits of using original instruments. However, he sited as an example the "piercing screech" and "wide vibrato" of modern violins. At best, a piercing screech is caused by crummy strings or a crummy violin. At worst, the screech is caused by a crummy violinist. The problem is not something inherent in modern violins. A wide vibrato in an inappropriate place is totally the fault of the violinist. The violinist either lacks musicianship or doesn't have the technical skill necessary to have a diverse vibrato "repertory". A good musician can make Mozart sound good on either an original or modern instrument. A hack will sound at best "OK" on either. A performance's quality is far more dependent on the musician than on the instrument. Greg Gadeholt Tektronix MDP ..!tektronix!tekmdp!gregg
ken@ihuxq.UUCP (ken perlow) (03/21/84)
-- >>> Ken Perlow made a couple of statements that could muddle a discussion of >>> original instruments vs. modern instruments... >>> Ken said that he didn't care for the sound of Mozart on modern instruments... >>> However, he sited as an example the "piercing screech" and "wide vibrato" of >>> modern violins. >>> At best, a piercing screech is caused by crummy strings or a crummy violin. >>> At worst, the screech is caused by a crummy violinist. The problem is not >>> something inherent in modern violins. >>> A wide vibrato in an inappropriate place is totally the fault of the violinist. >>> The violinist either lacks musicianship or doesn't have the technical skill >>> necessary to have a diverse vibrato "repertory". >>> A good musician can make Mozart sound good on either an original or modern >>> instrument. A hack will sound at best "OK" on either. A performance's >>> quality is far more dependent on the musician than on the instrument. Well, "screech" merely belies my preference for Baroque violin. Even the Strads and Amatis played today have been renecked to modern specs. I believe that Baroque violins were different in placement and use of the soundpost and bass bar also. The smaller necked, gut stringed Baroque violin makes the higher tensioned, steel strung modern violin screech in comparison. The difference (it's not a problem if you like it) is inherent in the modern violin. Also note that the Baroque violin was played sans chinrest, off the shoulder, much like a country fiddle. Lacking support at the chin, it was difficult to shift positions. Baroque violin is played much more in 1st position, which also contributes to its gentler sound. As for vibrato, few virtuosi today realize that the "gypsy fiddle" vibrato is of fairly recent acceptance. Heifitz, I believe, led the charge this century. If you listen to old Fritz Crysler recordings, you'll not hear so much warble. But today's stars play Mozart, even Bach, without ever having studied early music theory. The modern violin played without vibrato, though, does sound weird. I think its overtones are too complex. You need a Baroque violin (or going further back, the fretted viola da gamba) to produce that pure, sweet, almost eerie tone. This holds for the bass viol vs modern cello, too. Listen to the Bach unaccompanied sonatas performed on a viol--the extra strings and tuning in 4ths gives them a whole new sound. Well, a whole old sound, and probably closer to what Bach had in mind. -- *** *** JE MAINTIENDRAI ***** ***** ****** ****** 21 Mar 84 [1 Germinal An CXCII] ken perlow ***** ***** (312)979-7261 ** ** ** ** ..ihnp4!ihuxq!ken *** ***