VIBRATO IN BAROQUE MUSIC
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Vibrato in Baroque music
The use of vibrato by Baroque performers was moderate. In fact, it was only used to emphasise notes of long duration or accented sounds, and only in pieces whose expressive content required it. In other words, unlike modern practice, where vibrato is part of the basic sound/technique, for the Baroque violinist vibrato was a technical resource to be used according to the desired expressive effect, so they did not work on a single type.
In the Baroque period (and still today), the most common were the forearm vibrato (wide and slow) and the wrist vibrato (small and fast). The finger vibrato, however, had the fewest followers; its greatest exponent was Francesco Sfilio, a pupil of Camillo Sivori, who in turn was a pupil of Paganini.
The finger vibrato, which is performed with an ascending and descending movement and without leaving the string, has several advantages: it does not go out of tune because there is no horizontal displacement. Moreover, the combination of differentiated movements, i.e. horizontal in the right hand and vertical in the left, helps achieve an interesting independence of the hands. This vibrato helps to train the fingers, which is an advantage when, for example, we want to achieve greater ease and clarity in the performance of trills, as well as in chromatic passages. In his book, Applicazioni del vibrato: Il vibrato sul violino e la viola. Teoria e pratica, Edoardo Oddone suggests the following exercise for practising the finger vibrato: play long notes, increasing their volume when the vibrato becomes faster and decreasing it when the vibrato becomes slower. I personally recommend this exercise with the help of a metronome and at a slow speed.
The use of vibrato in the Baroque period was generally accompanied by the use of the messa di voce technique, which consists in increasing or decreasing the volume of each note, depending on whether we want to increase or decrease the tension in it. In this sense, and as an exercise before applying vibrato, I think it is interesting to practise the reportoire first without vibrato, using the messa di voce technique. Once this objective has been achieved, the next step is to add vibrato whenever necessary, for example in response to a round figure or an accent.
In his treatise on the flute, Johann Joachim Quantz (1697-1773) already warned of the importance of sustaining long notes ‘in a considerable way’ and suggested that this be done by ‘increasing and decreasing the strength of the tone’ (messa di voce). No less revealing was the way in which the composer Marin Marais (1656-1728) went so far as to use the symbol ‘e’ above an ornament, meaning that the violinist should ‘enfler’ the sound, or above a dot to indicate the same effect. It is also curious how he indicated the use of vibrato with a wavy line on certain white notes.
I think that without the expressive dimension that vibrato gives us, Baroque music would sound too uniform. But for the same reason, vibrato must be used with a clear interpretive sense, that is, with an effect that is perceptible and, above all, without excess. If it is used too often, vibrato loses its effect on the listener, it loses its power. In my own interpretations, I tend to look for the central moment of the note I want to vibrate and I end it without vibrato. In this way, I feel that the sound ends naturally. In fact, when I listen to performances of Baroque works, I find it strange if there is non-stop vibrato, because it seems to me that it removes an important part of the ability to express musically the emotions that are an important part of our experience of music.
Vibrato in Baroque music can be described as a subtle and tasteful oscillation of pitch used to express emotion and texture in the music. The use of vibrato can create a sense of warmth, depth and richness of sound. Vibrato can also be used to express different moods and emotions in the music. For example, a slow and wide vibrato can be used to express sadness or longing, while a fast and narrow vibrato can express joy or excitement. Vibrato can also be used to shape the music, emphasizing important notes or phrases and creating a sense of tension and release in the music. When used in combination with other techniques such as articulation, phrasing, and dynamics, vibrato can contribute to a more detailed and nuanced interpretation of the music. The use of vibrato can also reflect the performer’s personal style and approach to the music, adding a unique and personal touch to the performance.
When it comes to vibrato, musicians have different opinions about its use in baroque music. Some prefer to play without vibrato, while others incorporate it into their performance. The most important considerations when using vibrato are the style and context of the music being played, personal preference and the instrument being used. Vibrato was not commonly used in Baroque music because it was believed to detract from the purity and clarity of the music. Toward the end of the Baroque era, however, vibrato began to be used more frequently. When deciding whether to use vibrato in Baroque music, it’s important to consider the style and context of the music. Vibrato may be more appropriate in pieces that are more expressive and emotional, such as operatic arias or solo violin pieces. By contrast, choral music or early keyboard music may benefit from a more restrained approach to vibrato. Personal preference also plays a role in the decision to use vibrato. Some musicians prefer the warmth and richness that vibrato adds to their playing, while others prefer a more precise and clear sound. It’s important to remember that vibrato is a stylistic choice and ultimately depends on the performer’s taste. Finally, the instrument used may also influence the decision to use vibrato. Instruments that are naturally softer or have a less powerful sound may benefit from the added resonance and richness that vibrato provides.
The use of vibrato can have a significant effect on the tone and sound of a performance. Vibrato can add warmth, depth and richness to a piece, but it can also blur the lines of the melodic line, making it difficult for the listener to follow the music. When used properly, vibrato can enhance the beauty and expressiveness of a performer’s playing. The pulsing effect created by vibrato can give the impression of a human voice, adding emotional depth to the music. However, when used excessively, vibrato can detract from the clarity and purity of the music.
The bebung technique was an important part of the performance of German Baroque keyboard music, often used in slower, more contemplative pieces and was used to emphasise certain notes or phrases, and particularly effective in creating a sense of emotion and character in the music. The bebung technique was used in the performance style of several famous German Baroque composers, such as Johann Sebastian Bach, Georg Philipp Telemann and Johann Pachelbel. These composers were known to use the technique extensively in their works, underscoring the importance of bebung in the German Baroque keyboard music tradition.
Hi, I’m Maite, this blog’s author, violin teacher and modern/baroque violin specialist. Read more