How about ignoring Norrington?
Come on, folks, let's get serious! A to-do about Sir Roger's anti-vibrato movement (or lack of movement, as the case may be)? Don't we have anything better to talk about? Or is it a question of arts journalists frantically searching for copy in August?
Anyone who has read Styra Avins's informed and informative writings on the use of vibrato by Joachim and other string players in the second half of the nineteenth century will know that Norrington's latest campaign is largely baseless or part of an ongoing PR parade -- if not both -- just as anyone who has delved into Beethoven's conversation books will know that the way Norrington straight-armed his way through the recitatives in his recording of the finale of the Ninth Symphony went against the composer's instructions.
Among "authenticists" and "non-authenticists" alike, there are musical and unmusical performers: neither camp has a corner on the sensitivity market. Sir Roger can huff and puff all he likes about this or that offense on the part of the non-authenticists, but, to my ears, he belongs squarely (an appropriate adverb if ever there was one) among the unmusical authenticists.
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