In my first blog entry I described a coaching I had gotten on the F major sonata by Brahms, during which I was told I sounded like a “baroque” cellist. I think this was because I disappointed her expectations as to what good cello sound should be, because I’m familiar with some of the excellent players in her circle and with how they play. More than anything else, I think it was my use of vibrato that gave her pause. I should say, however, that my playing at that time did not evince any provocative stance on this topic. But what vibrato I did apply to Brahms clearly did not near her idea of what is appropriate for romantic music.
In her defense, I concede that this idea is shared by most musicians I hear. My coach’s disappointment in my sound and her displeasure at my supposed perforation of Brahms with “baroque” tendencies were borne of a trend some 90 years in the Continue reading