Kenneth Woods over at "A view from the podium" delivers this interesting insight in the music of Edward Elgar - which to me can be easily transfered into the ranks of the playing of Bach through Mozart and the like.
I commented on that post already, but felt that a post of my own was warranted.
For a while now, the recordings of Bach which claim to be "Historically Accurate" have bothered me for some reason. I'm always left asking myself if it was worth it. To go through all that trouble to try to recreate a sound which no one can claim to be 100% accurate. In some cases the recordings to me come out calculated, and bland. There are some exceptions, but I won't go naming these recordings as that isn't the point of this exercise, but instead offer the following argument.
Is there a difference between "Historically Accurate" and "Historically Informed"? for example, can a choir of two hundred singers and an equally mammoth orchestra perform Handel's Messiah and call it "Historically Informed" considering they've taken the time to prepare the score with a sense of Baroque style, articulation, and nuance even though the performing forces are too large, and the instruments too "new"?
The question of vibrato, I think, is answered so well in Kenneth Woods' post:
I can’t help but feel that in all music the “non-vibrato sempre” method is a weak-minded cop-out, an easy way to avoid thinking about whether, when, why and how to vibrate, a process which demands an awareness of harmony, instrumentation, color and taste. It stops the process of thinking, listening, responding and contemplating sound dead in its tracks.
How can we expect modern players to remove vibrato without removing the soul of their performance? I'm not saying we should be adding "Bel Canto" vibrato or rubato into the music of Bach, but we should not be afraid to let the instruments sing.
There is also evidence that early keyboard players did not use their thumbs! Why don't we ask our organists and harpsichordists to do the same? Because it would probably take away from the musical ability of the performer - which to me is like removing the left-hand vibrato motion of the string player.