RE: [Hornlist] vibrato and Myron Bloom
Hans and fellow listers - I agree with what you say here. I never meant to sound like I was saying that vibrato is all that important, just that Myron Bloom already played with it before going to France, and that it was indeed an enhancement of his musicality, not a critical component of it. I can enjoy any quality horn player without vibrato [almost every student I was in a college studio with, for instance] but if he/she does not communicate expressively the intentions inherent in the music, then it is lacking something vital for me. Also, any mention of technical shortcomings has to be unerstood to be predicated on Dennis Brains incredibly high standards. I have always dreamed to have his technique and musicality and anything I say about him has to be magnified by about 100 times to have an idea of my own personal abilities. I have sung both as a soloist, chamber choir, and mass choir singer for nearly 30 years. I have worked as an opera carpenter/gopher/assistant stage manager for a regional professional American opera company and I can vouch for the fact that vibrato is an inescapable part of the human voice, and is one aspect of such that every singer spends time learning how to control to be an effective musical communicator. I base my opinions of horn vibrato on it effective use as an expressive tool, not as a necessary component of any players technique. My comparison is always to two things - how would a vocalist perform that phrase, and do I understand what the player is trying to communicate. Not if I agree with their interpretation [and musical message] but is it effective and a cogent perspective on the composer's intentions. One can easily see how technical issues seem to be inextricably linked and lead inexorably to discussions of much more philosophical and emotional musical issues. This is good, for tecnique without heart and spirit means so very little as to be nearly worthless. BTW - if one ever thinks that some of our warmups have very little to do with our actual music making, try listening to a coloratura soprano or tenor warmup at 8:30 in the morning - one wonders if they are the same humans that later melt your heart with their singing. Hans Pizka [EMAIL PROTECTED] wrote: And technical shortcomings ? I can hear none, absolutely none. Dear friend, vibrato is not the essence of the music nor is it the essence of singing. Colours, colours, expression with the tone colours, the real espressivo does not need a vibrato but can have one. Myron Blooms mastery was not because of his vibrato, nor Ferenc Tarjani´s mastery had something to do with the vibrato. Both just used the vibrato. But their musicality did not base on vibrato. They just felt the music , the phrases, the ideas behind the music and expressed it, sang it. Their voice was important, their espressivo was important, and the vibrato was just a bit salt on the egg, not more. - Do you Yahoo!? Yahoo! Small Business $15K Web Design Giveaway - Enter today ___ post: [EMAIL PROTECTED] set your options at http://music.memphis.edu/mailman/options/horn/archive%40jab.org
RE: [Hornlist] vibrato and Myron Bloom
This discussion brings to my mind the small book written by Los Angeles hornist Fred Fox back in the late 60's - early 70's, Essentials of Brass Playing. The bulk of the book (admirably) covers the technical aspects of playing (support, use of air, embouchure, etc.), but his last chapters deal with getting to more life and vibrancy in the making of music with your instrument. I haven't read this book in awhile, but seem to remember that he discusses the use of a light vibrato (more 'felt' than 'heard') as a tool that might be used in this regard. I highly recommend this book! Fred David Jewell [EMAIL PROTECTED] wrote: Hans and fellow listers - I agree with what you say here. I never meant to sound like I was saying that vibrato is all that important, just that Myron Bloom already played with it before going to France, and that it was indeed an enhancement of his musicality, not a critical component of it. I can enjoy any quality horn player without vibrato [almost every student I was in a college studio with, for instance] but if he/she does not communicate expressively the intentions inherent in the music, then it is lacking something vital for me. Also, any mention of technical shortcomings has to be unerstood to be predicated on Dennis Brains incredibly high standards. I have always dreamed to have his technique and musicality and anything I say about him has to be magnified by about 100 times to have an idea of my own personal abilities. I have sung both as a soloist, chamber choir, and mass choir singer for nearly 30 years. I have worked as an opera carpenter/gopher/assistant stage manager for a regional professional American opera company and I can vouch for the fact that vibrato is an inescapable part of the human voice, and is one aspect of such that every singer spends time learning how to control to be an effective musical communicator. I base my opinions of horn vibrato on it effective use as an expressive tool, not as a necessary component of any players technique. My comparison is always to two things - how would a vocalist perform that phrase, and do I understand what the player is trying to communicate. Not if I agree with their interpretation [and musical message] but is it effective and a cogent perspective on the composer's intentions. One can easily see how technical issues seem to be inextricably linked and lead inexorably to discussions of much more philosophical and emotional musical issues. This is good, for tecnique without heart and spirit means so very little as to be nearly worthless. BTW - if one ever thinks that some of our warmups have very little to do with our actual music making, try listening to a coloratura soprano or tenor warmup at 8:30 in the morning - one wonders if they are the same humans that later melt your heart with their singing. Hans Pizka wrote: And technical shortcomings ? I can hear none, absolutely none. Dear friend, vibrato is not the essence of the music nor is it the essence of singing. Colours, colours, expression with the tone colours, the real espressivo does not need a vibrato but can have one. Myron Blooms mastery was not because of his vibrato, nor Ferenc Tarjani´s mastery had something to do with the vibrato. Both just used the vibrato. But their musicality did not base on vibrato. They just felt the music , the phrases, the ideas behind the music and expressed it, sang it. Their voice was important, their espressivo was important, and the vibrato was just a bit salt on the egg, not more. - Do you Yahoo!? Yahoo! Small Business $15K Web Design Giveaway - Enter today ___ post: [EMAIL PROTECTED] set your options at http://music.memphis.edu/mailman/options/horn/fbaucom%40sbcglobal.net ___ post: [EMAIL PROTECTED] set your options at http://music.memphis.edu/mailman/options/horn/archive%40jab.org
RE: [Hornlist] vibrato and Myron Bloom
Did you ever listen Dennis Brain playing Gordon Jacob or Schoeck Concerto. He was just 35 when he played these concertos for these live recordings. Still the highest example how music of the 20th century could be interpreted most mature, so everybody can understand it. And technical shortcomings ? I can hear none, absolutely none. Dear friend, vibrato is not the essence of the music nor is it the essence of singing. Colours, colours, expression with the tone colours, the real espressivo does not need a vibrato but can have one. Just adding vibrato is no expression. This is not enough. I know, that you think different but you cannot bring it in words. That is your problem. Myron Blooms mastery was not because of his vibrato, nor Ferenc Tarjani´s mastery had something to do with the vibrato. Both just used the vibrato. But their musicality did not base on vibrato. They just felt the music , the phrases, the ideas behind the music and expressed it, sang it. Their voice was important, their espressivo was important, and the vibrato was just a bit salt on the egg, not more. -Original Message- From: [EMAIL PROTECTED] [mailto:[EMAIL PROTECTED] On Behalf Of David Jewell Sent: Thursday, April 01, 2004 5:03 PM To: horn groups; horn list Subject: [Hornlist] vibrato and Myron Bloom On the thread concerning vibrato and Myron Bloom, ___ post: [EMAIL PROTECTED] set your options at http://music.memphis.edu/mailman/options/horn/archive%40jab.org
Re: [Hornlist] vibrato and Myron Bloom
What technical shortcomings did Brain have? Shel - Original Message - From: David Jewell [EMAIL PROTECTED] To: horn groups [EMAIL PROTECTED]; horn list [EMAIL PROTECTED] Sent: Thursday, April 01, 2004 10:02 AM Subject: [Hornlist] vibrato and Myron Bloom . Dennis Brain may have had technical shortcomings ___ post: [EMAIL PROTECTED] set your options at http://music.memphis.edu/mailman/options/horn/skirshner%40ameritech.net ___ post: [EMAIL PROTECTED] set your options at http://music.memphis.edu/mailman/options/horn/archive%40jab.org
Re: [Hornlist] vibrato and Myron Bloom
In a message dated 4/1/04 11:03:52 AM, [EMAIL PROTECTED] writes: Dennis Brain may have had technical shortcomings Thank you for informing me about this. Now, can you tell me where I would be able to get the same ones? Paul Navarro ___ post: [EMAIL PROTECTED] set your options at http://music.memphis.edu/mailman/options/horn/archive%40jab.org
