Style in Singing

ri ht 1 9 1 1 C opy g , SC H IRMER By G .

22670 PREFA TO R! NO TE

F m an . making y books there is no end Surely , the weary observation of the sage must have an especial application to the literature of Song . — One could not number the books anatomical , physio — on . logical , philosophical the Voice A spacious library “ could easily be furnished with Methods of Singing. Works treating of the laws governing the effective interpretation of instrumental music exist . Some of them , by acknowledged and competent authorities , have thrown valuable light on a most important element of l musical art . Had I not be ieved that a similar need existed in connection with singing , this addition to vocal literature would not have been written . “ In a succeeding volume on Lyric Declamation : Reci ” tative c , Song and B allad Singing , will be dis ussed the practical application of these basic principles of Style to a G F the voc l music of the erman , rench , Italian and other national schools .

E . LA W . HAS M .

2 i , rue Malev lle , P P arc Monceau , aris ,

1 1 1 July , 9 .

IN TRO DU C TIO N

. " N P ! a Paderewski I listening to a atti , a ubelik , , the reﬂective hearer is struck by the absolute surenes s with which such artists arouse certain sensations in their

auditors . Moreover , subsequent hearings will reveal

' the fact that this sensation is aroused always in the same

the place , and in same manner . The beauty of the f voice may be temporarily a fected in the case of a singer ,

or an instrument of less aesthetic tone - quality be used b y the instrumentalist , but the result is always the same . What is the reason of this ? Why do great artists

' always m ake the same effect and produce the same im ? pression on their public Why , for instance , did the m h M e . t e late Tietjens , when singing following passage ’ s M essi a h in Handel , always begin with very little voice l of a dulled qua ity , and gradually brighten its character as well as augment its volume until she reached the Gil high which is the culmination , not only of the musical

phrase , but also of the tremendous announcement to which it is allied ?

- i o . For now i s C hri st r s en, for n w i s Chr ist ris en INTRODUCTION

This last tone was delivered with the full force and

c was brilliance of her magniﬁcent voi e , and prolonged until the thrill produced in the listener became almost

. wh painful in its intensity Again I ask , y did this

world - famous singer perform this passage always in the same way ? Unreﬁecting people may reply vaguely that “ ” it was because the artist sang with expression . But what constitutes “ expression in singing? No great — artist no matter what the vehicle or medium throu gh — which his art ﬁnds manifestation does anything at ” random . The wind bloweth where it listeth only m in appearance ; in reality , it is governed by i mutable

. i s law Similarly , the outward form of an art only

apparently dictated by caprice and freedom from rule . The effective presentation of every art is based on well deﬁned and accepted principles . And it is with the earnest desire to throw light on this most important “ phase of vocal art, that I present the principles of Style i ” in S ngmg . C O N T E N T S

PAGE

PREFATORY NOTE INTRODUCTION CHAPTER I Elements of Vocal Training Emission of Voice

CHAPTER II The Value o f Technique

CHAPT E R III : Analysis of Style Colour Accent Intensity Phrasing Portamento Variations of Tempo

CHAPTER IV : Tradition Pointage

CHAPTER V : Rep ertoi re

CHAPTER VI : Conclusion

ST! LE IN SING ING

CHAPTER I

' ELEMENTS O F VOCAL TRAINING

F I the practical education of the singer be analyzed , it will be found to comprise four fundamental ele ments ( 1 ) POSE : or Emission of voice ; ( 2 ) TECHNIQUE : or the discipline of the voice con sidered as a musical instrument ; (3) ST! LE : or the application of the laws of artistic taste to the interpretation of vocal music ;

E E O E : (4) R P RT IR or the choice , in the literature of

m the vocal usic , of works most suited to voice , temperament and individuality of the particular

singer . I have classed these four elements in their relative

. . U order They are , however , of equal importance ntil P the ose and Technique of a voice are satisfactory , n attempts to acquire Style are premature . O the other

- hand , without Style , a well placed voice and an adequate amount of Technique are incomplete ; and until the ’ singer s education has been rounded off with a Repertoi re adapted to his individual capabilities , he is of little practical use for professional purposes . 2 STYLE IN SINGING

EMISSION O F VOICE G REAT natural gifts of temperament and originality m a y , and sometimes do , mask defects of emission , particularly in the case of artists following the operatic career . But the artistic life and success of such a singer

. e is short Violated Nature reb ls , and avenges herself

' r ll fo a infractions of law . A voice that is badly pro du ced c e and i s or emitted speedily be om s worn , easily

f . atigued By an additional exertion of physical force , the singer usually attempts to conceal its loss of sonority

- and carrying power . The consequences are disastrous m — for the entire instrument . The mediu to which is assigned the greater portion of every singer ’s work ” becomes breathy and hollow , the lower tones guttural ,

i ts the higher tones shrill , and the voice , throughout

m u . entire co pass , harsh and nmanageable

- i t i s e In view of its supreme importance , scarc ly necessary to dwell upon the s elf- evident fact that this u —E P — fo ndation mission , or lacing of the voice should be well laid under the guidance of a skilled and ex

- perienced smgmg teacher . Nothing but disappoint t ’ men can ensue if a task of such consequence be conﬁded ,

1 s t oo one as frequently the case , to of the numerous “ C O are not harlatans who , as scar Commettant said , ” i i s i ra a ble to achi eve ossi bi li t es so the rom e m cles . p , y p — P of a The proper Classiﬁcation , and subsequent lacing ,

voice require the greatest tact and discernment . True ,

there are voices so well - deﬁned in character as to occa sion no possible error in their proper Classiﬁcation at EMISSION O F VOICE 3

the beginning of their studi es . But this is not the case

with a number of others , particularly those known as

- - a voices of mez z o carattere (demi car ctere) . It requires a physician of great skill and experience to diagnose an obscure malady ; but when once a correct diagnosis i s

made , many doctors of less eminence might successfully t treat the malady , seeing hat the recognized pharma

copoeia contains no secret remedies . Let the student of singing beware of the numerous “ ” a M s impostors who cl im to have a ethod , a ort of bed of P hi rocrustes , w ch the victim , whether long or short , “ ” i s made to ﬁt . A method must be adapted to the

subject , not the subject made to ﬁt the method . The

iz v . object of all teaching is the same , , to impart knowl edge ; but the means of arriving at that end are multiple , and the manner of communicating Instruction i s very often personal To imagine that the same mode of ” procedure , or method , is applicable to all voices , is as unreasonable as to expect that the same medi cament will apply tO all maladies . In imparting a correct eml ss10 n to ff of voice , science has not infrequently e ace

the results of a previous defective use , inherent or acquired , of the vocal organ . Hence , although the object to be attained is in every case the same , the mod era u s op ndi will vary inﬁnitely . Nor should these most important branches of Classiﬁcation and Produc — — tion be entrusted as is often the case to assistants , usually accompanists , lacking the necessary training for a work requiring great experience and ripe judgment . To a competent assistant may very properly be con 4 STYLE IN SINGING

ﬁded the preparation of Technique , as applied . to a

: mechanical instrument All violins , for instance , are m f . e practically the sa e But voices di f r as do faces .

The present mania for dragging voices up , and out

e tes si tu ra of their l gitimate , has become a very grave

“

i n . ev l , the co sequences of which , in many instances , h ave been most disastrous . Tolera ble baritones h ave

been transformed into very mediocre tenors , capable

- ff mezzo soprani into very indi erent dramatic soprani ,

and so on . That this process may have answered in a

few isolated cases , where the vocal organs were of such exceptional strength and resistance as to bear the

i s strain , by no means a guarantee that the same results

may be obtained in every instance , and with less favoured i subjects . The average compass in male voices s about

e . two octav s minus one or two tones I mean , of course , tones that are really available when the singer is on the

and . stage accompanied by an orchestra Now , a bari

, his tone who strives to transform voice into a tenor , m c si ply loses the two lowest tones of his ompass , possibly

of good quality and resonance , and gains a minor or

G sol major third above the high ( ) of a very poor ,

strained character . The compass of the voice remains

exactly the same . He has merely exchanged several

excellent tones below for some very poor ones above .

I repeat , one who aspires to be a lyric artist requires the best possible teacher to guide h i s ﬁrst steps ; he may

e so consult an inferior or incompetent professor , wh n ﬁrmly established in the right path that he cannot

possibly be led astray . EMISSION O F VOICE 5

It i s a Common belief that Singing- teachers of reputa

' tion do not care to occupy themselves with voice - pro duction , or are unable to teach it . This is a serious error . A competent professor of singing is as capable of imparting the principles of this most important

a branch , as of directing the more esthetic studies of

r all o rea t - Style and Repertoire . All the e y g and illus “ ” triou s singing - masters of the past preferred to form the voices of their pupils . To continue and ﬁnish a ’ so s predeces r s work , or to erect a handsome and olid

i s f structure on defective foundations , always a di ﬁcult task ; sometimes . an impossible one .

Then , as regards the pupil , particularly one studying

’ with a view to a professional career , a defective pre paratory trammg may eventually mean serious material loss . The money and time spent on his vocal educa

I tion is , in his case , an nvestment , not an outlay ; the investment will be a poor one , should it be necessary later to devote further time and expend more money to correct na fu ral defects that ought to have been corrected at the beginning of his studies , or to eradicate faults acquired during their progress . F ’ urthermore , the purpose of some part of a singer s preliminary education is to strengthen and ﬁt the voice A for the exacting demands of a professional career . s — the training of an athlete rower , runner , boxer , wrest — oiIl ler not y perfects his technical skill , but also , by a process of gradual development , enables him to endure the exceptional strain he will eventually have to bear ’ in a contest , so some of a singer s early studies prepare 6 STYLE IN SINGING his voice for the tax to which hereafter it will be s u b If f c . je ted those studies have been insu ﬁcient , or ill e directed , failure awaits the débutant when he pr sents himself before the public in a spacious theatre or concert i f hall and strives , ne fectually , to dominate the powerful sonorities of the large orchestras which are a necessity n for modern scores . A sound a d judiciously graduated

preparatory training , in fact , is essential if the singer v di would a oid sappointment or a ﬁasco .

The vocal education of many students , however , is nowadays hurried through with a haste that is equalled

only by. the celerity with which such aspirants for

lyric honours return to obscurity . CHAPTER II

T H E VAL UE O F TECHNI Q UE

L! ’ RIEF deﬁned , the singer s Technique may be B said to consist principally of the ability to govern P In the voice in its three phases of itch , Colour , and

tensity . That is , he must be able to sing every note

” t hi bu ghou t the compass of the voice ( Pitch) in different

qualities or timbres (Colour) , and with various degrees

of power (Intensity) . And although the modern schools of composition for the voice do not encourage the dis

- a play of ﬂorid execution , a Singer would be ill dvised l indeed to neglect this factor , on the p ea that it has no

o longer any practical application . N greater error is

conceivable . Should an instrumental virtuoso fail to f acquire mastery of transcendental di ﬁculties , his per fo rm a nce of any piece would not be perfect : the greater

- includes the less . A singer would be very short sighted

who did no t adopt an analogous line of reasoning .

a i li ta Without an appreciable amount of g , the perform ance of modern m u si c 1s laboured and heavy ; that of l c ass1cs I . the , mpossible In fact , virtuosity , if properly

- understood , is as indispensable to day as ever it was . As much vocal virtuosity is required to interpret su c ’ cessfu ll F a f y the music of alst f , in Verdi s opera , as is necessary for M a ometto S econdo or S emi rami de by R ossini . It is simply another form of virtuosity ; that 8 STYLE IN SINGING

i * l ri s all . T he y c grace or dramatic intensity of many ’ pages of Wagner s music - dramas can be fully revealed only through a voice that has been rendered supple by e training , and r sponsive to the slightest suggestion of an artistic temperament . In short , virtuosity may have changed in form , but ’ i s it still one of the cornerstones of the singer s art . An executive artist will spare no pains to acquire perfect

’ meti er technical skill ; for the , or mechanical elements u of any art , can be acquired , spontaneous tho gh the

Its i . s results may sometimes appear primary use , and should be , to serve as a medium of interpretation . True , virtuosity is frequently a vehicle for personal display , a s C irn arosa D , notably , in the operas of , B ellini , onizetti , i and the earlier works of Ros s1n1 and Verdi . At ts

i s worst , however , it a practical demonstration of the fact that the executant , vocal or instrumental , has completely mastered the mechanical elements of his

ar ot s i l profession ; that , to use the g of the studio ,

’ ” commi t son meti er (he knows his trade) .

i s Imperfect technique , indeed , to be deprecated , if merely for the reason that it may debar a Singer from ’ interpreting accurately the composer s ideas . How

I seldom , if ever , even in the best lyric theatres , S the

‘ following passage heard as the composer himself indi ca ted :

I O STYLE IN SINGING

I do not ignore the fact that cases occur where artists , owing to some physiological peculiarity or personal

idiosyncrasy , are unable to overcome certain special

f ef l di ﬁculties ; where , indeed , the fort wou d produce but

. x meagre results But such instances are the e ception , i not the rule . The lyric artist who s gifted merely with im a beautiful voice , over which he has acquired but

a t perfect control , is the mercy of every slight indis position that may temporarily affect the quality and

sonority of his instrument . But he who is a “singer the in the real and artistic sense of word , he who has

acquired skill in the use of the voice , is armed at all

points against such accidents . By his art . by clever

- devices of varied tone colour and degrees of intensity ,

he can so screen the momentary loss of brilliance , etc . , o as to c nceal that fact from his auditors , who imagine him to be in the possession of his normal physical

a n a rt powers . The technical or mechanical part of y

as . can be taught and learned , I have said It is only

- Pa a case of well guided effort . tience and unceasing

perseverance will in this , as in all other matters , achieve

the desired result . Nature gives only the ability and

“ aptitude to acquire ; it is persistent study which enables

their possessor to arrive at perfection . Serious and

lasting results are obtained only by constant practice . It is a curious fact that many people more than usually C o . gifted arrive only at medi crity ertain things , such

to . as the trill or scales , come naturally easy them

' erfect thei r a i li ta This being the case , they neglect to p g ,

. O which remains defective thers , although but moder T H E VALUE OF TECHNIQUE I I

a e ately endowed , have rrived at eminence by she r i persistence and rightly d rected study . It is simply

he a musical version of t Hare and the Tortoise .

But we must make a great distinction between the preliminary exercises which put the singer In full posses sion of the purely mechanical branch of his art (Tech

a re nique) , and the esthetic studies in Taste and the search for what dramatic authors call “ the Science of

Ef . fect , or Style The former must be thoroughly k accomplished , otherwise the latter cannot be underta en

u n satisfactorily . A good and reliable technique is

doubtedly of primary n ecessity . B ut it is by no means

On e 1 - all . may have a voice which s well posed and of

f x good resonance , and also have su ﬁcient ﬂe ibility to perform neatly all the rapid passages with which the

i s pages of the C la s sIC composers abound . But this not

singing ; nor is the possessor of these an artist . He has simply the necessary and preliminary knowledge which

should enable him to become one , by further study

ms the ti c . of the side of the art of singing He has , as

it were , collected the materials necessary for the erec t ion of a splendid ediﬁce , and has now to learn the

ef m. fective means of combining the So , when the ” voice is formed , a frank and easy emission obtained , f a su ﬁciency of Technique acquired , the next step in l ’ the singer s education is the practical study of the

o pr blem of Sty le . CHAPTER III

ANALYSIS OF STYLE

HAT is Style

- In reality the question is two fold . One may

a have Style ; and one may have style . The former is general ; the latter individual . The former can be

- deﬁned taught and learned , for it is based on certain well — i n o t rules ; the latter is personal other words , is n universally applicable . Not infrequently it is a p artic ular application of those rules which gives the Impress l of originality . But correct taste must ﬁrst be formed by the study of the noblest creations in the particular

. as art that claims attention In singing , in the sister arts , the laws which govern Style must be apprehended and understood before Individuality can be given full

therw1 se x . O scope , what to the e ecutant would appear i as or ginal might , to correct taste and judgment , appear i m ridiculous and extravagant . A genius s someti es eccentric , but eccentricity is not genius . Vocal students

a s should hear many good singers as possible , but actually imitate none . A skilled teacher will always

discern and strive , to develop the personality of the

dis cover ’ laten t pupil , will be on the alert to features of

en o r1g1nali ty and C haracter . He will respect and

sery ile courage individuality , rather than insist upon the l— imitation of some model even though that model be

has himself . As the distinguished artist Victor Maurel OF 1 ANALYSIS STYLE 3, justly observed : Of all the bad forms of teaching

” ‘ Uh Probleme singing , that by imitation is the worst ( ’ d A rt) .

as In singing , in painting , a copy has never the value

of the original . Moreover , slavish imitation in any

art has a deleterious inﬂuence . But to respect irre

ro achable fitl p examples and y observe sound rules , whose very survival often justifies their existence and testifies

to their value , is always of beneﬁt to the artist . To imitate is to renounce one ’s individual expression of an

ideal and present that of another . But to observe

established and accepted laws , laws founded on Truth

and consecrated by Time , is not to imitate , when those laws are applied in an original and individual manner that is in harmony with the personality of the inter “ ’ L ar s n coi n e a re a ravers m preter . t e t u d N tu oi l t i ”

tem erament. p In literature , each writer has his own

special - style which may easily be recognized ; but all

S l i n follow the same grammatical rules . A correct ty e ”

the “ appropriate expressed ; attention to the

’ ’ musical arid i eti c AcCents ; judicious and effective m ' - —’ h u ﬁ

P whe thei musical . so hrasing ( or verbal) , that the meaning of both composer and poet may be placed in

the clearest light .

Le t us analyze Style in its three principal aspects

P . Colour , Accent , and hrasing I 4 STYLE IN SINGING

COLOUR

F ALL m the elements of Style in Singing , the ost ff — potent and e ective the one , indeed , that is ‘ — essential for the success of the lyric artist is the ability

to vary the vocal timbre ; that is , to sing with Colour . This desideratum of varied tone l colo u r is sought even

. i s by instrumentalists Nay , the instrument itself

sometimes constructed with this object in view . Wit “ ” ness the invention of the soft pedal , which is intended not solely to reduce the intensity of tone in the piano forte— that may be accomplished by a modi ﬁcation of — force in striking the note but to give the tones a darker ,

or . more sombre quality , colour To vary the tone ’ ll a colour , a violinist or ce ist draws the bow cross the

strings close to , or distant from , the bridge , in accord

ance with his desire for a reed - like or ﬂu te - like quality m of tone . Anyone who has listened to the perfor ance ’ i n P D of the slow movement aganini s Concerto in ,

! E rerr by an saye or a Mischa lman , will have arked how the skilful use of varied tone colour and other devi ces Imparts a wonderful charm to music intrinsically of but mediocre value A Singer may have a good quality of voice ; bu t tha t is normal . If he can vary it only in degrees of loudness (Intensity) an d not in differences of timbre (Colour) he cannot be ranked as an artist . No matter how

hi s hi s great the natural beauty and sonority of voice , performance will always be monotonous , if he has only hi — one tint on s vocal palette . In speech from which — ANALYSIS O F STYLE COLOUR 1 5 — the effect is borrowed utterances of grave and serious h meaning, and t ose of gayer import . are not made with

the same colour of voice . A brighter quality (ooi x C lai re) is used instinctively for an ejaculation uttered by one to whom pleasant or joyful news has been com

m u ni ca ted . On the contrary , should it be the cause — of sorrow or grief for the listener , he will use should he — have occasion to reply a darker quality of voice (voi x

bre . s om ) Such phenomena are physiological . The vocal organs are the most sensitive of any in the hu m a n economy : they betray at once the mental condition of

. o the individual J y is a great tonic , and acts on the vocal cords and mucous membrane as does an astringent ; a brilliant and clear quality of voice is the result . Grief F t or ear , on the o her hand , being depressing emotions , lower the vitality , and the debilitating inﬂuence com m u ni ca tes tOthe voice a dull and sombre character .

O n this question of colour in the voice , the masterly

Le ou vé s a s z fC ertain writer and critic g y ‘ ﬂ particular gifts are necessary if the speech is to possess colour .

T h ﬁr e s t of these is Metal in the voice . He who has it not will never shine as a colourist . The metal may be gold , silver or brass ; each has its individual character i i i st c . A golden voice s the most brilliant ; a silvery voice has the most charm ; a brassy voice the most power . B ut one of the three characteristics is essential .

' A voice without metallic ring i s like teeth without enamel ; they may be sound and healthy , but they are not brilliant . In speech there are several — a . colours bright , ringing quality ; one soft and veiled 1 6 STYLE IN SINGING

The bright , strident hues of purple and gold in a picture

so may produce a masterpiece of gorgeous colouring ; , ff in a di erent manner , may the harmonious juxtaposition

of greys , lilacs and browns on a canvas by Veronese , R D ubens , or elacroix . “ L i s ast of all the velvety voice . This is worthless

if not allied with one of the three others . In order that a velvety voice may possess value it must be reinforced

’ ‘ ’ (dou blee) with metal . A velvety voice is merely one of It may be of interest to notice that the quality which “ ” F th e in rance is designated timbre , is called by “ “ ” metallo di voce Italians , or , metal of the voice . Those who heard Madame Sarah B ernhardt ﬁfteen or twenty years ago will readily understand why her countless friends and admirers always spoke of her “ ’ matchless organ as la ooi x d or . R The late Sims eeves , the famous tenor , was a perfect

0 colou r and master of all varieties and Shades of vocal , displayed his mastery with certainty and unfailing ff e ect in the different ﬁelds of Oratorio and Opera . In “ ” D su bse the recitative eeper and deeper still , with its ” quent aria Waft her , angels , through the skies

!Handel! , he ranged through the entire gamut of tone ’ colour . As Edgardo in Donizetti s Lu ci a di Lammer “ ” moor , he launched the Maladetta phrase of the

T he s e a d m i ra bly e x pre s sed vi e ws illu st ra te a nd ex e mplify the ri n ci es I a id d o wn i n a con erence Pa ri s 1 902 o n V o i ce p pl l f ( , ) Prod u cti o n ( Pose de la w he re in I d e m o n stra ted the po s s ibility o f a c u i ri n t he a id o f the re s o na ti n ca iti e s a rea te r q g , by g v , g s o n o rit m o re i n con o rmit with the d e m a nd s a nd n e cess iti es of y , f y

re e n - p s t d a y m u si c .

1 8 STYLE IN SINGING

c 0 wi n di ssi e la tri s tes se a n d Bac hic air , 0 , p , the pensive ” o E tre ou rte as etre mon logue , , p , both from the opera H a mlet T . he , by Ambroise Thomas forced , unnatural

u se o f quality of the ﬁrst calls for the a clear , open ,

brilliant timbre .

’ coeur ! A moi l es reves de l i vres Et lo ri re moqueuri

h e But for the second , To be , or not to

‘ - e o - - - E t r , nnopas é tre! 6 my s té rel

. T he a sombre , closed timbre is necessary opening

' recitative of V an derdecken in Der fli egehde H ollarz der by

o f n Wagner would be absurd , and utterly out harmo y

I with the character and his surroundings , if sung n the ” P “ . x e open timbre erhaps I ought to . e plain that op n

voi x cla i re F voi x s ombre a re ( , and closed ( , c technical terms , of which the equivalents are a cepted in all countries where the art of singing is cultivated ;

u ali t h si cal terms that apply to q y of tone , not to the p y process by which these effects are produced . Such a mistake is not in frequently made by vocal physiologists

- who are not practical musicians or SIngIn g tea chers . “ ” Nor must the term clear timbre be understoo d to — ANALYSIS O F STYLE C QLO U R 1 9

voi x bla nche voce mean the white voice , or

' this , like the guttural timbre , being only occasionally employed for the expression of some violent

passion , such as hate .

L E e C a rrIere ike the admirable paintings of ug ne , for P instance his masterly portrait of aul Verlaine , a song , l sometimes an entire ro e , may be worked out in mono

chrome ; though the gradations of tint are numerous , they are consistently kept within their preconceived

- l colour scheme . Some few exceptional singers , ike

- F R Jean B aptiste aure or Maurice enaud , have this gift of many shades of the one colour in their singing of cer h l tain roles . The colour is determined by the psy c o ogI cal character of the personage portrayed ; a gay , reck less D on Giovanni calls for a brighter colouring throughout than that necessitated by the music allotted to a gloomy V an derdecken or an embittered and venge R . One ful igoletto may , therefore , formulate the following rule : The general character of the com position will decide the tonal colour appropriate for its general interpretation ; the colouring necessary for its component phrases will be determined by the particular E sentiment embodied in them . motions like sorrow , fear , despair , will ﬁnd ﬁtting expression in the sombre e quality of voic , graduated in accordance with the m n intensity of the e otion . The opposite se timents of

ﬁtti n l joy , love , courage , hope , are g y interpreted by gradations of the clear and brilliant timbre . The dark or sombre voice will be used in varying shades for “ ” S ams on Oh : the recitative from (Handel) , , loss of sight 2 0 STYLE IN SINGING

on loss o s t , f igh , while the clearest and most brilliant timbre possible to ’ be obtained i s plainly indicated for the same composer s ” ! J u das a a Sound an alarm from M cc bwns .

li b. S ound an a a ur s ve ets s ound! 1 rm,y o il t trump

It was a rule formulated by the old Italian school of ’ SIn In l arte del bel canto I Its g g , when n true sense did — — really exist , that no phrase musical or verbal should

i n be repeated with the same nuances . Very many stances might be given o i the happy effect obtained by

ne f . observing this rule . O will su ﬁce It is taken from L the amento of Queen Catherine (of Aragon) , who ,

f r V . o slighted by Henry III for Anne Boleyn , sighs her native SpaIn .

Lamento - "0a VIII: Act IV S amt Sa ens ’ a d h bJ aa (f sobbi ng )

Sudden contrasts of colour are of great dramatic

’ illu s tra tIon I Di oi ni tes effect . A good S found in the air ’ i da S t x G A lces te . n s y , from luck s This co trast still further heightened by a sudden change of both Intensity and Tempo . — ANALYSIS OF STYLE ACCENT 2 1

Di -vi - ui -tés du Styx! Di -vi - ni -tés du Styx!

' ni s tres do 18. mortI

Mi ni s tres de la mort! This last phrase , should be sung

in a very sombre voice of almost guttural character .

i s It , indeed , in the recitatives and declamatory pas

o i G Sacchini sages luck , Handel , , that lyric artists will R . n a s ﬁnd unsurpassable material for study equiri g ,

n such works do for their perfect i terpretation , all the P resources of Colour , Accent , and hrasing , such study is the best possible preparation for the ﬁtting musical presentment of the lyric drama in some of its later

phases .

Colour , then , is the basic element of Style in singing .

It is reinforced by Accent , which , as the name implies , is the accentua tion of details that require to be brought i n to romi p n ence . n / This subject , therefore , ext claims

attention .

ACCENT

In singing , two kinds of accent are recognized P the Musical accent , and the oetic , or Verbal , accent . The ﬁrst appertains to the domain of sound ; the second

. a to the domain of signiﬁcance The ﬁrst , for esthetic 2 2 STYLE IN SINGING

o reas ns , throws into relief certain tones of a musical phrase ; the second brings into prominence the sentiment

t . t underlying the poem or tex No e , also , that in spoken

a declamation , accent applies to syllable only ; in singing , the verbal accent affects an entire word .

' to St le the M u SIcal In its relation y , accent must be

carefully distinguished from the , Metrical accent which n is determi ed by Time , or Measure , as well as from the Verbal accent whereby the import of a word i s rendered

i s x Mu I l clear to the listener . Here an e ample of S ca ’ t Of B allo i n M aschera : accen , from Act III Verdi s

vuol na

The accents (marked thus give to the musical phrase a piquancy that is admirably in keeping with the

O who gay and careless character of the page , scar , Sings

. arti cu it In fact , as regards Style , Musical accent is p larly valuable in song for the purpose of setting forth

. m a the true character of the music Hence , it y be regarded as a means of characterization . This use of accent for characterization is also quite “ distinct from its use with accidentals , or tones foreign

to the prevailing tonality . In the former case , senti

in ment dictates its employment ; the second , the accent i ’ guarantees , as it were , the accuracy of the s nger s — ANALYSIS O F STYLE ACCENT 2 3

intonation . By the faint stress laid on the foreign tone , the listener i s assured that the executant is not deviating from the true pitch . In the following examples , the ” tones marked are accidentals , and for that reason should receive a faint stress . The first example is i from La F orz a del Des t no .

V e rdi

do - na al mi o p e c

“ ” Je di s qu e ri e n Bl z e t C armenz Act III

e _ neur VOIIS me __ 0 té g r ez , g

These different uses of accent are well illustrated in

x the following e ample .

C ome u nto H im Mes s iah a nd el La rghetto H

T ake H is oke u on ou and l ea r o y p y , n f H im.

The tone allotted to the second syllable of the word upon is accentuated to afﬁrm the accuracy of the ’ singer s intonation ; the slight emphasis of the word “ ” Him brings into relief the meaning of the text . This 2 4 STYLE IN SINGING

i s P latter , then , an illustration of Verbal , or oetic

, I accent which repeat , throws into relief , without con

sideration of its musical value or position , some word of

special signiﬁcance in the verbal phrase . To render the

poetic meaning of the text clear to the listener , a correct

use of verbal accent is imperative . Its importance ff and e ect , particularly in recitative and declamatory

singing, are analogous to the importance and effect of

emphasis in spoken language . The example is from S ams on (Handel)

0 los s

Here I may point out that in cantabi le phrases the

stream of sound , notwithstanding its division into syllables by the organs of articulation—lips tongue — , , eta should pour forth smoothly and uninterruptedly . The full - value of each tone must be allotted to the vowel ; the consonants which precede or end the syllables are pronounced quickly and distinctly . In declamatory singing , on the contrary , the consonants should be

articulated with greater deliberation and intensity .

H and el ( Me s si ah)

- know that my Re de em e r liv e th .

“ ” Here an emphatic accent on the Conson ant n irre si stibl 1 5 ab o y suggests the idea of knowledge ; that , of s of f lute certainty , not mere belie .

STYLE IN SINGING

( as pri nted)

H e shall feed hi s flock like a Shep he rd .

( should be s ung )

’ H e shall fe ed hi s flo ck lik e a shep herd .

Instances of faulty syllabic accent abound in Handel ’s

hi s E hi s works , both nglish oratorios and Italian operas .

Many examples could be quoted . Here is a phrase from

the beautiful air for mezzo - soprano sung by Ruggiero in the opera of A lci na .

( as pri nte d)

( Should be s ung)

’ Eli ah In Mendelssohn s j , the following phrase is nearly

u l always s ng as written , un ess the singer is familiar with the best traditions

Re ci t .

Give me thy _ s on!

It may be that the artists Who slavishly follow the published text fear being accused of altering the com ’ s po er s music , or are ignorant of the fact that there exists a better version , which is this — ANALYSIS O F STYLE INTENSITY 2 7

Give me thy s on!

It will be seen that the music is not changed in the

‘ least ; the musical and verbal accents have been merely readjusted and m ade to coincide . In order to avoid the disagreeable effect of singing one . ” half- bar andante to the syllable si (pronounced like ” E zee in nglish) , the following phrase of Marguerite

Les H u u enots de Valois in g (Meyerbeer) , Act II , is changed thus :

And ante

( as pri nted)

( Should be s ung )

c tem s __ eux un p mi .

INTENSITY IN musical terminology every gradation of volume in sound , from the faintest to the loudest , enters into

n the category of Intensity . O e of the accepted rules

arte del bel canto of the was , that every sustained tone should be coloured by some g raduation of intensity . 2 8 STYLE IN SINGING

Thus t he ability to augment and diminish the volume hi — of tone was so ghly esteemed indeed , so essential that singers spent much time in acquiring the mess a di voce , that is the steadily graduated emission of tone from the softeree to the loudest and again to the softest : p f p. This exercise invariably ’ fo rmed a part of each day s study , and was practised on several vowels throughout the scale , except “ the

e . xtreme tones , save in rare instances It was , in fact , indispensable that the singer should be able to colour every tone in three forms of graduated intensity : Soft < >~ to loud p f;to soft f p; and soft to loud and soft again p f p. i s . This command of intensity , therefore , invaluable B ut it is even more effective when the a rtist has the

’ power to combine the various gradations of Intensity ff with di erent shades of Colour ; in other words , when he can sing a tone crescendo and di mi nu endo in the clear and sombre timbres . ’ Alceste s The passage , already cited , from great air ’ G Alces te in luck s opera , furnishes an admirable illus tra ti on of the dramatic emotion created by a sudden contrast of Intensity as well as Colour In the invocation “ ” ! e! ministers that dwell in night ! the clear timbre is used with gradually increasing volume until at the “ ” phrase (sung adagi o) Ministers of death! the timbre changes abruptly to a sombre quality with sinister f ff . e fect , which e ect is augmented by being sung pp — ANALYSIS O F STYLE INTENSITY 2 9

Gluck ( Al ceste: Act I)

Di-vi -ni -tés du Styx !

Mi ni s tres de l a mort!

A still more striking example of the impressive effect produced by sudden contrasts of intensity is offered in “ ” l E S ams on the magniﬁcent air Tota clipse , from

- (Handel) . In it , a judicious use of tone colour , accent , and variations of tempo , all combine to elucidate in the highest possible degree t he idea of both composer and poet 3 0 STYLE IN SINGING

The words Sun , moon and stars should be given

a cceler strongly accentuated , and the tempo gradually ated . The repetition of the phrase should be sung “ with still greater intensity ; then , at the passage are ” ' the voi ce dark to me , the colour of changes to one of very sombre quality , and the original tempo is resumed . The ﬁrst consonant in the word “ dark ” should receive a slight stress .

crescendo The has always been a favourite device , of o comp sers , particularly of those who write for the lyric f R e . th atre It was an e fect held in high esteem by ossini , who introduced it constantly in his operas—witness his overtures and ensembles . All are familiar with the wonderful crescendo which precedes the appearance of

! of Lohen ri n the night the Swan , in g , where the sonori ties are augmented by gradual additions of voices and instruments until the culminating point i s reached . An instance more poignant still i s found in the great “ ” a Liebesto d in T ri s t n nnd Isolde . e F Although H rold , the rench composer , observed that in working u p to a climax one should begin a long way — ANALYSIS OF STYLE INTENSITY 3 1

' off n tO reach , a si ger must be careful not his maximum

of vocal sonority before the musical climax is attained . D h The tenor uprez created a sensation that is istoric , in the long crescendo passage in the fourth act of Gu i l lau me T ell e , by gradually incr asing the volume of sound , l as the phrase developed in power and grandeur , unti ’ oi hi s the end , which he delivered with all the wealth exceptionally resonant voice .

B efore closing this chapter on Intensity , I should advise singers whose voices possess great natural volume or power not to abuse this valuable quality by employing it too frequently . The ear of a listener tires sooner of

ff . extreme sonority than of any other e ect Talma , the F great actor , wrought many reforms on the rench — dramatic stage , not only in costume prior to his time — Greek or Roman dress only was worn in tragedy but

also in the manner of delivering tragic verse . Against the custom , then prevalent , of always hurling forth long f v “ tirades at ull oice , he inveighed in these terms : Of ” u roar all monotonous things , p is the most intolerable

de tou tes les monotoni es celle de la orce ( , f es t la plu s i n su orta b e pp l ) . An artistic singer will use his most as n powerful tones , a pai ter employs hi s most V ivid

colours , sparingly . 3 2 STYLE IN SINGING

PHRASING

H RASING is Si mply musical punctuation . In sing

ing , it may be separated , like accent , into two i : P . divisions Musical and oetic , or Verbal , phras ng If the following passage were performed by an instrument , it would not require any particular grouping or phrasing

eﬂect But when sung , it would fail in if not performed “ ” : with a very slight pause after the word nobis , thus

Ave Mari a Luz z r And ante

ra pro

AS another illustration of the excellent effect of correct l Ps che Paladi he . phrasing may be cited the song y , by Its effect is heightened if the musical phrasing be judi

! ciou sly combined with a change in Colour and Intensity

Andanti no

’ uand il les f at e en mur mu re! Q l , j (Should be sung)

34 STYLE IN SINGING

l scena who e is admirably written for the voice , and con tains many graceful passages of great melodic charm . But although the music may claim to represent the character of the situation as a whole , it is disﬁgured by

the complete disregard of the sense of certain groups of, words

ma o - ra d del no-si roa-mor

’ The words come se fosse l nlti ma ora del nostro a mor b if . e constitute one phrase It would extremely d ﬁcult ,

impossible even , for many , to sing the passage in one breath B ut the ﬁrst musical phrase ends after the

nlti ma ‘ x word , to separate it from the ne t word , “ ” — ” ora : (second and third bars) , thus last hour , is

impracticable . It would be out of the question to destroy the musical phrase by breathing after the word — ANALYSIS OF STYLE PHRASING 3 5

’

ora hi . , in the t rd bar If the text is phrased when

i s spoken as it is when sung , the incongruity at once

0 apparent . The published score gives a pause after ” “ o a m e s a the word ora : u lti m or d l no tro mor . This

i s ff phrasing good and e ective , especially if the artist

changes at once to the sombre quality after the pause ,

i a ra a n and ﬁnishes the phrase p no and llent ndo . O e very often hears it , however , given with a pause for breathing after the high a; the unfortunate singer having prolonged

the tone until , in order to continue , he is compelled to take in more air . The result is the absurd phrasing given below

ti ma _ o - ra del mor

In the ﬁnal cadenza , the composer has cut out the ” word ora altogether . The whole air is of interest to the musical student , as it shows clearly the little value attached by Verdi , at that period of his career , to the exigencies of the verbal or poetic phrase . This neglect of the verbal punctuation is in marked contrast

hi s to the care he bestowed on it in later works , witness

Ai da Otello an d F alsta . , , particularly ﬁ Here I may say that it is sometimes necessary to alter the words on account of the impossibility of per forming certain passages as written . In the earlier

l S amson et Dali la - e pub ished scores of (Saint Sa ns) , the “ ’ o a following passage in Act II , Mon c eur s ouvre ta ” as voix , the composer wrote it , occurs as one phrase 3 6 STYLE IN SINGING

Andante

é o a dres - s e! A11 ! _ r p nd s _ m _.

i Th s being impracticable of execution in one phrase , and there being no opportunity of retaking breath until the C was lose of the passage , it altered in the later editions , and now stands thus

Ah! _ ré on s _ ré onds a os - s e ! p d , p

This device of repetition , applied either to a word or to part of a phrase , is perfectly justiﬁable in cases

h sIcal l where the artist , for p y reasons , is unab e to sing the phrase in one breath . I give an excerpt from

’ ' Der Frei schutz G Weber s ( rand Air , Act II)

on love may be sung

The concluding bars of the waltz - song in Act I ’ G Romeo et J u li ette of ounod s , are often phrased as indicated in the brackets , in order to give the singer a

i s chance to take breath , which done after the c natural : — ANALYSIS O F STYLE PORTAMENTO 3 7

As di screpancies between the musical and verbal

as phrases , such those I have instanced , abound in certain of the old operas which still keep the stage and form a part of the permanent repertoi re of every lyric theatre , the artists singing them are compelled to choose between sacriﬁcing the words or the music . The former alternative is generally preferable , the musical phrase in many such cases being of the greater relative im

. f portance Another way is , to meet the di ﬁculty boldly by supplying another text which mates itself more P happily with the musical phrase . ersonally , I adopt the latter alternative without hesitation when pre paring artists to s1ng these works .

Some minor effects utilized i n Style in singing may

: Portamento T be brieﬂy alluded to ; variations of empo .

PORTAMENTO

HIS is effected by. the voice gliding from one tone

to another , and is equally available on stringed ’ instruments , the violin or cello , the mandoline or zither .

It is a grace of style much abused by inartistic singers . 3 8 STYLE IN SINGING

Being an ornament , g ood taste dictates that it be used

to sparingly . A frequent sliding from one tone another is a grave fault , and most disagreeable to a cultivated

le a to stri sci ato ear . To sing g is one thing ; to sing is

o ccasIon s another . Hence , its use on two consecutive

m s is rarely ad issible . But without a ober and discreet

ortamento use of the p , the style of the singer appears — ff n a s u . sti , a gular lacking , it were , in graceful c rves It must always be performed by carrying the tone and syllable to the next tone ; never by anticip ating the latter :

Mo z a r t ( Noz z e dI Flgam) Susanna x

Deh vi e ni non a d , t r ar,

But it sometimes happens that , while desiring this

” hi s grace , the composer does not indicate wish quite

m : i . é correctly . Here s an instance by F T ho

Et nou s dan si ons nu bo-l é

as Were it performed printed , it would be very bad style , as it violates the rule that the succeeding syllable

. U shall not be anticipated ndoubtedly , what the author wished is the following :

Et nous dan si ons — ANALYSIS OF STYLE PORTAMENTO 3 9

Sometimes the composer himself indicates clearly his ff intention that this e ect should be used , as in the fol Iowing examples

Re e r La Statue Andanti no y ( )

’ é va nou i r ei . Pour s , v l

C e le s te A ida ( Ai da Act l V e rd i

- i na,tu

S ong Heure du S oi r for T enor Leo Del ibe s

Sous la bri s e toute em-bau-me 4o S TYLE IN SINGING

" ’ From La Bohi mcj Act I And i i lno l ento Pucci ni ﬁirt'i

Mi ch Mi mi ma il mi o no - me : Ln a , v j .

(Notice the phrases marked a and b. )

The words and indications for the u se of the porta mento in each of these last four examples are by the

respective composers , and as printed in the published ’ /éditions . A portamento should never be sung so slowly as to convey the idea of a badly executed chromatic scale ;

! is and , as a rule , it best not to use one between any

s lesser interval than a third , unless for ome particular

effect or at the close of a slow movement , as in the ” was ed T he M essi ah: aria He despis , in

- w and ac qua int cd ith g ri ef.

It is also effective in connecting syllables in phrases

: of a smooth , lyric character

‘ Nozz e di Figaro: Act II Mo a rt cit. Sus anna z

( a s pri nted)

( should be s ung )

4 2 STYLE IN SINGING

- ff . cretion in this much abused e ect Variations of Tempo ,

ri tardando accelerando tem o ru bato the , , and p , are all E legitimate aids demanded by xpression . But unless their use is determined by sound judgment and correct ff musicianly taste , the e ect speedily becomes vulgar and

. ! monotonous nowledge , and a taste formed in good

. i schools , must be the guide of the vocalist n the u se of

variations of tempo . D I have said that the operas of Bellini , onizetti and Verdi abound in instances requiring the hastening or

slackening of the tempo . But the device is also highly — m m a estee ed by the ultra modern Italian school , as y be P seen in studying the scores of uccini , Mascagni and L eoncavallo . Here is an illustration of i ts effective u se in the air ” - le ? Mi non Connais tu pays from g (Act II) , by

Ambroise Thomas . Madame Christine Nilsson (Count ” rOle ess Casa Miranda) , who passed the with the com

poser , always sang the phrase thus , although these indications do not appear in the published version

4 “coal .

’ r sui vre, ve s heu reux , d oli le s ort

Der A sra R the Again , in the ﬁne song , by ubinstein ,

. eff musical , as well as the dramatic , ect of the poem is

u se accelerando w heightened by the of the , hich interprets — ANALYSIS OF STYLE VARIATIONS OF TEMPO 43 with musical vividness the impetuous avowal by the slave of his passion for the princess , after his calm i answer to her questions as to h s name and birthplace . “ Ich hei sse M a homet i ch bi n au s ! emen u nd mei n , , i ” S tamm s i nd ene A sra welche sterben wenn si e l eben . j , ,

(HEINE . )

und meln Stamm e no As

ster CHAPTER IV

TRADITION

RADIT ION plays a more important part , perhaps in the interpretation of the classic composers writings for the voice than it does in their purely i nstru — mental works . The Old masters left few sometimes — not any indications as to the manner in which their

music should be rendered . Thus its proper performance

is largely determined by received oral tradition . The

printed scores of the classics , except those that have

been specially edited , throw little light on their proper a interpret tion , or even at times on the actual notes to

be sung . !T o perform exactly as written the operas of

G A rmi do Or hée luck , notably and p , the operas of Mozart ,

' Itali an o eras E the the p and nglish oratorios of Handel ,

M endelssohn wou ld oratorios of B ach , Haydn , and , be to do the greatest injustice to these composers and their

works . It is a prevalent idea that all departures from the

published text are due either to caprice , or to vanity and a desire for personal display on the part of the solo f i st . As though Singers had a monopoly of these de ectsll Let us consider some of the principal causes of such

changes in the text , and the reasons why these modi

ﬁca tions do not always appear in the published versions .

5? In the original editions of many of the earlier operas ,

as those of Mozart , etc . , the unaccompanied recitative TRADITION 4 5

A - (reci ta ti oo secco) i s not barred . s with the plain chant

i t ~ ch . of the church , only the p of the tone is indicated

len th Its g was left to the discretion of the artist , who was supposed to be familiar with the accepted style of “ ” delivery termed reci tativo parlante . The example i s “ ” D Le from the recitative ove sono , in Act III of

Noz z o di Fi aro g , by Mozart

E Su s an - na non vi en! So-noan si o s e dl se per

This should be sung as below

Andante it.

E Su - sen -n So-no an-slo - se dl s e er v p

The substitution of another note for the one actually h R written , bot in ecitative and Aria , was also strictly

regulated under the system or convention then in vogue ,

’ one perfectly understood both by compos er and singer . E l In all the earlier Italian operas , and in the ng ish f l“ m oratorios of Handel , this syste was followed

Re cit Beho ld a V ir in shall co nce ive . , g Mess iah H a ndel STYLE IN SINGING

“ ” ArI a I know th at my Re deemer liveth H andel Mess iah

li v eth

know my Re d e em er liv eth

“ ” o Re cit. Non pi u di fi ri La Clemenza di T ito Mo z a rt

Ec-co il to o Vi tel pun ,

In qu esta tomba Be ethoven

In que - s ta tom - ba o s cu ra — LT hi s a substitution , therefore , of another note tone — or semitone higher or lower , according to the phrase is not only legitimate but essential in all music written In the Italian manngrg Another cause of changes being necessary in the l vocal part of many of the older c assic writers , par

ti cu larl y of oratorio , is the frequently faulty syllabic

accentuation . I have already mentioned this defect

H nde . a l in the chapter on Accent E , for instance , although E living nearly all his life in ngland , never became quite TRADITION 4 7

master of its langu age ; hence the numerous cases of the

hi s misplacing of syllables in oratorios . This defect i s

hi s also noticeable , but not in the same degree , in Italian

Eli ah books of j and S t. Pau l (Mendels

T he C reati on (Haydn) , were originally written G ff in erman , and therefore su er somewhat in this respect an E when the tr slated nglish version is given . This fault is also noticeable in the English versions of B ach ’s ’

Passi on . nd l Ps alm C ! I V (St Matthew) , and Me e ssohn s

the In the ﬁrst quoted of these two works , in response D b “ for ou le Chorus to the question , Whether of the twain will ye that I release unto you ?” the accent falls “ ” on the ﬁrst syllable Ba - rab - bas ; in the second of

1 1 th Ps alm the two works ( 4 ) , the accent is placed on “ ” - l - l - a : e u a h. the last syll ble , thus Hal j Neither of these accentuations is in accordance with English

f singer,there ore , is perfectly justiﬁed in rearranging

a s as the syllables in order that , far possible , the musical and verbal accents shall coincide?) But there are rigor i sts of , unaware the usages and conventions previously

of spoken , who are very severe in their judgment when any deviation is made from the printed score with which they follow the perform ance of classic works .

Such severity is unmerited , because unjust . Although such persons sometimes inveigh against any and every change from the strict letter of the ' printed music n ig orant of the possibility , that only in this way can its spirit be respected —the changes in a multitude of cases are essential because due ( 1 ) to reverential deci 48 STYLE IN SINGING

of n 2 im phering an obsolete musical notatio , ( ) to

rovements to p in musical instruments , or (3) the sanction of and authority the composer himself . Sometimes it is an orchestral conductor who re proaches the solo Singers with their want of respect

hears ' at for the composer , because he times interpolations or changes which ﬁnd no place In his own score The “ are singers accused of altering the composer , of “ ” taking liberties with the text . And yet these very changes may be traditionally correct ; they may be in accordance with rules and conditions prevalent at the time the music was written , and employed on account ’ to of a desire interpret the composer s own intentions , and not from mere vanity or caprice . Nor are these necessary changes and departures from the printed scores of the classics conﬁned to the vocal As parts of the music composed by the old masters .

of a a matter fact , the deviations which , in perform nce , are sometimes made from the printed edition of a musical composition , arise from a variety of causes . One of these i s the discrepancy that exists between various editions of the same work ; and sometimes the confusion is complicated by different versions having been prepared by the composer himself . This is notably

’ ’ G Or hee the case with luck s p , ﬁrst written to an Italian alz abi i libretto by C g and produced at Vienna . When Marie Antoinette called her former Viennese singing

G P she him master , luck , to aris , gave an opportunity of displaying his genius by facilitating the production

hi I i i A h 1 I s h én e en u li de t e O . ts of p g at péra , in 774

5 0 STYLE IN SINGING

’ J a i perd u m o n E u rydi ce

cr e _ e e Sort u l , qu ! l ri g ueur! J e su c

Ina don - eur a ma don- eur a ma dou eur ! l , l , l

As a tered G u ck fo r Pa ri s su n the te no r Le ro s From ( l by l ; g by g . ’ a m a n u s cri t co Bi lio the u d e é r e l O a . p py , b q p )

’ J a i p erd u m on E u ryd i ce

- - com bo a ma dou . leur a ma do n l eur a ma dou eur ! , , l

As su n Mm e V i a r o - Ga r i a - ( g y . d t c T he a tre Lyri u e Pa ris the b , q , ; a rt ei n res to red to the o ri i na o i ce a nd ke bu t the chan e at p b g g l v y , g the en d m a de fo r Le r s re t a in o ed . , g , )

The finale to the first act was also changed ; a tumul “ ” t o u s d u hurry for strings , evi ently designed to accom pany the change of scene to Hades , being now replaced by a florid air , probably introduced at the desire of the principal singer as a medium for the display of his vocal virtuosity ; a concession often exacted from com posers of opera . This interpolated air was for a long time attributed to a composer—B ertoni—who had

’ d Or h e himself compose an opera on the subject of p e . L s ater researche have , however , proved that this air TRADITION 5 I

is G f A ri steo by luck himself , taken rom , one of his

earlier works . When the famous revival of Orphée

T hééitre - L P rOle took place at the old yrique in aris , the h — of Orp ée was restored to the type of voice contra ltoj was for which it originally composed , and conﬁded to

i r - P a do . Mme . auline V t Garcia She retained the air

for L introduced the tenor egros , but of course trans r posed , and with a reo chestration by Camille Saint e f Sa ns ; the now amous composer having at that time ,

of by the request Berlioz , undertaken to continue and ’ of G k complete the revision luck s complete wor s , * known as the Pelletan Edition . Other changes from the ﬁrst Italian score were also made by Gluck in the later French version . Here is an example ; being the recitative immediately preceding the great air of Orpheus in the last act :

O ri in l I a n e r io n r n fo r i nna a ta i s a s w i tte V e . ( g l v , ) Re citative

Mi s e - ro

l - nuo -vo e er s e - re O le e ' O mor te l O ri . p rn p gg

’ - l - va n l a con cor do cru del Non ho s oc cor s o, non ma

Se e e r i nte restin a rti c e s i n e Sa i nt- Sa n n h Echo v y g l g d C . e s i t e ’ a e P a r i s fo r J u 2 1 9 1 1 y 3 . l , 5 2 STYLE IN SINGING

’ s o a - spet - to del l or ri - do mi o s tat - to !

’ - st polr. la mort , C e

( As w ritten fo r the Pa ri s ersi on the rOle v , of O rphée bei ng then su n a ten o r g by . ) tout _ cc qul me res te !

a mort ,

' AS s u n Mm e V - ( g y . ia rd ot Ga rcia the r61e ei n then re sto red b , b g to the n co t ra to oi ce a s in the Ita ia n e rsi o n whi e the cha n es l v l v , l g m d e G u ck fo r the Pa ri s ers i o n w e re reta ine T h a by l v d . is i s n O w n d eh ItIvel a d o ted at the O éra - C o mi u y p p q e . ) TRADITION 53

Again , discrepancies exist between various published e comes of the sam work , arising from the fact that sometimes the editors of these revisions may have

. Or mistaken the intentions of the composer , inﬂuenced im by pardonable human vanity , they may have felt

elled f to c p ollaborate more directly with the composer , by adding something of their own . There is valid reason for the additional accompani hi ments , with w ch Mozart has enriched the original ’ ’ scores of Handel s M essi ah and Alexander s F east; and we have evidence of the skill , and can divine the rever

di . ence , with which these ad tions were accomplished

But how fatal would have been the results , had the delicate task been attempted by one in whom these

l e ! A i s e qua ities w re lacking lso , there every excus ’ for the addi tions made to Gluck s A rmi do by Meyerbeer for the Opera of Berlin ; and we have the direct testi

- e mony of Saint Sa ns , who has examined this rescoring , as to the rare ability and artistic discretion with which * the work has been done . From thi s evidence it appears that in the score as G left by luck , the trombones do not appear at all in

A r d mi e . The drums , and stranger still , the ﬂutes , are heard only at rare intervals ; while the whole orchestra — ’ tion sometimes a pale sketch of the composer s inten — tions shows a haste and lack of care in marked contrast

the of Alceste with pains bestowed on the scoring , I h i éni e Or h e . p g , and p é The revisions and additions spoken of were undertaken by highly competent author

* ' Echo a P a r i s o c i t Se e e . , p . 54 STYLE IN SINGING

to its ities , actuated only by the wish restore in purity

the idea of the composer ; and who to zeal , added the

rnore valuable quality of discretion . f f i mu SIc Ancient , owing to the development of and changes

in the instruments for which it was composed , can E rarely be given as written by the author . ven if the

instruments of modern invention be eliminated , the

- orchestra of to day is not the orchestra of Handel . The

so oboe , for example , has gained in penetrating power that one instrument to each part now sufﬁces in Handel ’s time the feeble tone of the oboe rendered a considerable

number necessary . The perfection of certain instru

i s ments , too , the cause of modiﬁcations in the music

written for them . The limited compass of the piano

for forte , example , was certainly the sole reason why Beethoven failed to continue in octaves the entire

: ascending scale in one of his sonatas . Had the piano m in his day possessed its present co pass , he would u ndoubtedly have written the passage throughout in

i . e . . octaves , , as modern pianists play it If a rigid adherence to the printed letter of ancient music i s to

be strictly observed , without consideration of the many

causes that render this procedure undesirable , let con sistency be observed by pushing the argument to its i vz . logical conclusion , , returning to the instruments used ,

and the composition of the orchestra that obtained ,

when these works were written . Those who accuse

artists of introducing changes , of not performing the

as music the composer wrote it , Should be quite sure

as ‘ to what the composer really did write , since many TRADITION 5 5 changes are made both before and after the work is printed . They should also be certain that these changes

as h are not such the composer may have , or would ave ,

u se hi s i s sanctioned , seeing that by their meaning more clearly expressed .

C oncerts S i ri tu els of At the p , given at the Church the P f Sorbonne , aris , may be heard very excellent per orm

ec O an s of ratorio by ancient and modern composers , from Handel and B ach to Claude Debussy ; though I ’ do not know whether or no l Enfant prodi gu e (The P D rodigal Son) , by ebussy , is properly styled an oratorio , seeing that it wa s recently given in London on the stage as an opera . These performances at the Sorbonne are marked by a reverential attention to detail ; the soloists , chorus and orchestra being very competent , and the — P — ’ conductor M . aul de Sauni eres a musician of ability

. n and experience In spite of these great adva tages ,

of however , the ~ works several of the old classic com

snﬂer posers somewhat , by certain authentic traditions and conventions being either unknown or ignored . To cite only one instance out of many : At the Sor bonne , the opening bars of the second movement of the R T “ ” . he M essi ah . ecit in , Comfort ye my people , etc , are performed as printed STYLE IN SINGING

a This music is written in the Italian m nner , con sequently its performance should be in conformity with the usages and conventions which obtained when the

. One work was composed of these , as I have pointed out , was the substitution of one note for another in certain places ; another , that in declamatory recitative ,

reci tati vo arlante or p , the chord in the orchestra should “ come after the voice ( dopo la parola These words l appear in many scores of the Ita ian operas , even of the present day . But when they do not , the musical director is supposed to be familiar with the custom . The fol lowing, therefore , is the authentic mode of performing the passage in question :

Apart from these defects in the rendering of the

ancient classics , it would be unjust not to acknowledge

the great artistic merit and value of the performances , — — given as O ratorio should be i n the church . To hear ’ l Enfance du C hri st (Berlioz) a s performed at the Sor

bonne , with its particular facilities for obtaining the

eﬂ ects i c ppp of the d stant or receding angeli chorus , is

58 STYLE IN SINGING

into sound by singers or instrumentalists . Wagner embodied this truth in his pathetic reference to Lohen “ ri n : des aIrIn sa t g When ill , miserable and p g , I brood L ing over my fate , my eye fell on the score of my ohen i r n . g , which I had totally forgotten Suddenly I felt something like compassion lest the music might never ” o off - sound fr m the death pale paper . In other words ,

Lohen ri n was g , though ﬁnished in every detail , merely

potential music . To make it anything more , the aid of

singers and orchestra are essential .

create Composers and dramatic authors , in fact , their — - art works ; but it is their interpreters actors , singers , — ani mate instrumentalists who them , who breathe life

. One u into them of the inevitable conseq ences is , that ’ v the composer s ideal can ne er be fully attained . But changes in performance from the printed text of a composition are frequently the work of the com

f I poser himsel . If really an artist , he s rarely perfectly

satisﬁed with his completed work . The difference

between his ideal and his materialization of it , is a

“ source of anguish for him . The journey made by a vision of art from the brain that conceives it ‘ to the

‘ hand that imprisons it in marble , or depicts it in colour , or pens it in words or music , is a long one . And much grace or power , beauty or grandeur , is inevitably lost

h i s on t e way . This the explanation of the disappoint

i s ment of all true artists with their creations . This the origin of their endless strivings to perfect their works ; the ﬁrst embodiment is not a perfect interpreta ’ of tion the artist s inspiration , and further reﬂection TRADITION 59

has revealed to him an improvement . The process is endless .

’ A man s reach s hou ld exceed hi s ras g p , Or what i s H eaven for?

If one wishes to surprise geni us labouring to give birth to perfection , one should consult the later editions of Victor Hugo ’s works and note the countless emenda tions he made after their ﬁrst publication—here a more

ﬁtting word substituted , there a line recast , elsewhere an entire verse added , or excised , or remodelled . This work of incessant revision is not restricted to poets . Composers of genius are also inveterate strivers n after perfectio , are continually occupied in polishing And and revising their music . not all the modi ﬁcations they make , or sanction , are recorded in the printed

- . For versions many are the outcome of after thoughts , of ideas suggested during the process of what I have called transmuting musical hieroglyphics into sound .

Such modiﬁcations , usually decided upon in the course —4 of a rehearsal 1 am now considering particularly oper — f t atic works are requently jo ted down , a mere scanty ’ ’ memorandum , on the singer s part or the conductor s score . But they are the work of the composer , or have received his approval , and , although not noted in the printed editions of his compositions , are transmitted orally from conductor to conductor , singer to singer , master to pupil . And thus a tradition is perpetuated .

But the question of changes goes even further .

P wa s rior to the advent of Wagner , the singer allowed 60 STYLE IN SINGING

great license in ope ratic works . This license was prin ni cipally ma fested in a twofold form . The ﬁrst is called

oi nta e F u ntatu ra p g ( rench) , p (Italian) and means the changing of the notes or contour of a musical phrase ; the second is termed changements or vari antes a bbelli menti or ﬁori tu re and refers to the interpolation

i . e . and addition of ornaments , , embellishments and cadenzas . — TRADITION POINTAGE 6 1

POINTAGE

as HIS , I have said , is the technical term given to the modi ﬁcation or rearrangement of the notes of a phrase , so as to bring it within the natural capa bili ti es of the artist Singing the rOle . A few illustrations

a will make the nature of poi nt ge clear .

’ I R ni Gu i llau me T ell In ossi s , although it is written in a ff di erent style from his former works , whence less i necessity for interpolations and mod ﬁcations , occurs the following terrible passage for the principal baritone

- Mai s e con nai s l e oids des fers mai s e con. nai s l e oids des fers . j p , j . p

‘ Every vocalist knows the diﬂi cu lty experienced i n

ff re singing very high tones to di erent syllables , each quiring a different conformation of the buccal cavity . — ’ The passage quoted expressing Tell s bitterness at the co uff “ re llection of his past s erings in prison , Well I know the weight of galling chain -has to be declaimed with great energy . So far as the relative value of the

. ad li bi tu m notes is concerned , it is entirely , the rhythmical — ﬁgure In the orchestra having ceased one half bar

D badI basso ca ntante t . a e before It is said that , a ra her

rOle than baritone , to whom was entrusted the of Tell O P on the ﬁrst production of the work at the péra , aris , on

A 1 8 2 ugust 3 , 9 , ﬁnding it impossible to sing the phrase as written , had recourse to a professor . He advised the

i nta T o e . p g given later his change became traditional , 6 2 STYLE IN SINGING

I and has since been followed , except , it S said , in the D case of Massol ; who succeeded abadie . He , being possessed of a very sonorous voice of exceptional com

as . pass , was able to give the phrase written This

oi nta e R change , or p g , must have been heard by ossini , and so must have been tacitly approved by him . This is the change made by Dabadie

Mai - - i es e s s e con nai s l e oi des fers ais e con na s e oids d f r . j p ds , m j l p

’ oi nta e In Italian lyric theatres , p g becomes necessary F in many rench operas , owing to the prevalent custom of allotting to contraltos certain roles written for soprano “ ” as D and known dugazon roles (from Madame ugazon , who created the type) . The parts of Siebel in F au st

G U Les H u u enots Romeo ( ounod) , rbain in g , Stéphane in cl J u li ette G ( ounod) , are all written for soprano , and when sung in Italian require not only transposition of

the oi nta e the principal airs , but use of p g in passages where transposition is impossible owing , for instance , to

the participation of other characters in the scene . Thus the ai r sung by the page Urbain (Les H u gu enots) on hi s entrance is sung in the French theatres as written by

B . e i . e . Meyerb er , , in ﬂat In theatres where the

i s o Italian version is given , this air transp sed a third

G oi nta es lower into , necessitating later numerous p g , for

the reason already given . I said that many deviations from the printed text are

u . A the work of the a thor , or are authorized by him — TRADITION POINTAGE 63

’ moment s reﬂecti on will convince one o f the truth of this

i — statement . The S nger chosen usually by the com f— “ ” rOle i . e . poser himsel to create a , , to interpret for the r i ﬁ st t me some part in a new opera , generally studies w it ith the composer , or under his direct supervision ,

us n as and th lear s, directly or indirectly , his ideas to the

f . f n s e o o . mea ing , tyl execution , tempi , etc , the music f Very o ten during rehearsals , when the composer begins his really to hear own work , he makes modiﬁcations in certain passages , alterations of the words or suppressions ff of the notes that are either ine ective , or lie awkwardly

has for the voice . But the opera already been printed for the convenience of the singers and choristers study

rOles m odiﬁca ing the and choruses ; consequently , such “ ” tions , rearrangements , and cuts (as excisions are termed) , do not ﬁnd their way into the published scores . h Meyerbeer , as I ave been informed by competent

‘

di . authorities , was constantly mo fying his compositions W ith him , the work of revision and emendation was never ﬁnished . It is said that this was more especially ’ hi s l A ri cai ne the case with last opera , f , which he was e continually altering and r vising , never being able to f satisfy himsel . Two versions of the libretto were pre

for pared him by Scribe , and two distinct settings of the * music are published , although only one is performed .

C a s es a re nu merou s of cha nges m a d e by compo s e rs e ven a fter he r w o rk ha s e en r u ced T he F ou nta i n S ce ne i n Lu ci a wa s t i b p od . enti re rem od e ed Do ni z e tti s o m e ti me a ter its o ri i n a ro ly ll by , f g l p d u cti on a t Mi a n the ﬁ rs t s etti n ei n re a ced the Re na ve l , g b g pl by g nel si en z i o n o w u s ed w ritte n fo r Pe rs i a n i when the o era wa s l , p

ﬁrst i e n a t the Sa n C a r o Na e s . g v l , pl 64 STYLE IN SINGING

’ ‘ I Nelu sko s n ﬁrst air occurs the following passage , in

crescendo i s which a great marked , culminating ff on the word ri en

Although the opera was produced after the composer ’s

- F death , Jean B aptiste aure , the great baritone chosen rOle of elu sko M to create the N , studied it with eyerbeer ,

who authorized several verbal and musical changes in it .

’ l on n6- tent on no non I - tent ri en a n , ri en, n , n, , a

Without the ﬁrst alteration it i s impossible to realize ’ “ ” the composer s wish for a climax on the word ri en ; the second change i s due to the fact that the tessi tu ra of i s F the phrase somewhat high , and aure , who was a

low rather than high baritone , dreaded the high fit. for Indeed , it was this latter reason that this most ’ accomplished singer never sang in Verdi s operas . Ac his cording to own statement , he had to deny himself

this pleasure , because most of the baritone parts in the ’ tessi t ra Italian composer s operas are written in a high u .

G hi s F au st ea - L When ounod wrote for the Th tre yrique , P aris , spoken dialogue was used in place of the recitatives subsequently added by the composer when the work

O . passed , ten years later , into the répertoire of the péra

a In its e rlier form , therefore , it belonged to the category

66 STYLE ‘ IN SINGING

information on this point . In any case , the roles written — for him called Martin - tenor or Martin - baritone parts

P i a are now assigned to the ordinary baritone . o nt ge ’ - e then becomes inevitable , as in the case of H rold s

Z a m a as p , the compass required printed being from

rOles as Mi non C armen In the , such g (Thomas) and

G - (Bizet) , written for Madame alli Marié , their respective composers themselves have so arranged the parts that

‘ m - they ay be sung by either mezzo soprano or soprano .

rOle has The of Mignon alternatives , in order that it may be sung by three types of female voices . The roulades and cadenzas were subsequently added by the composer for Madame Christine Nilsson . ’ rOle If the is sung by a high soprano , Mignon s ﬁrst ” - le i s air , Connais tu pays , transposed a tone higher into E ﬂat . In the famous duet between Raoul and Valentine in

Les H u u enots has the fourth act of g , the composer given alternative notes for those tenors who do not possess the exceptional altitude required for the higher of the two :

v ens! — TRADITION POINTAGE 6 7

I heard recently , however , a performance of this

opera , in which the tenor sang the whole of the music

oi nta as written , without either transposition or p ge . So

it was sung , I should imagine , by the famous Adolphe

ou rri t rOle N , who created the ; but the pitch at that time

1 8 6 ( 3 ) was lower than it is at present . Thus composers have recognized the necessity at times of poi ntage in certain rOles written for exceptionally

gifted singers , in order to render possible to the many

that which was originally written for the few . Changes from the published version have also been — made and proving effective have passed into tradition

by singers who , exercising the liberty then accorded them

by composers , have slightly modiﬁed certain passages : ff for several reasons for instance , to augment the e ect by making the phrase more characteristic of the vocal ’ instrument , or to express more forcibly the composer s

idea . The following illustrations will render my meaning

clearer . The changes originated in the causes I have

D - mentioned , and are attributed to Madame orus Gras :

’ R oi u e ai me obert, t q j

chang e

Poco andanti no froi ! Ah ! 68 STYLE IN SINGING

G a a The phrase r ce , gr ce , in which Isabelle implores R ’ m obert of Normandy s forgiveness , occurs three ti es .

When it recurs for the last time , a change from the

n printed text is not only justiﬁable ; it is demanded , i order to give additional intensity and power to the o phrase , and to avoid the monot ny caused by mere i s repetition . This modiﬁcation all the more defensible ,

the as the composer has substituted the orchestra , with

tremolo - ﬁ u re strings , for the rhythmical harp g with which he accompanies the phrase on its ﬁrst and second pres

- entati ons . Here is the accepted traditional change

Gra cc - , grit cc pour moi m

A aIn as g , to sing the ﬁnal cadenza of this air Meyer i t beer brieﬂy indicated , would be impossible and absurd

( as printed)

cc pour moi .

O ther changes have their origin in the fact that some times a great climax is rendered impossible of realization because the musical phrase ‘ culminates on a vowel

f of sound di ﬁcult of emission on that note , and devoid s e onority ; anoth r word has sometimes to be substituted . — TRADITION POINTAGE 69

For , of this reason in the ﬁrst air , Alice in the same “ Robert Va di t- elle opera ( ) , , , a verbal rearrangement is always resorted to :

s - - lui , a me re va pri er pour lui ,

To avoid the disagreeable and ineffective result pro d u ced by the high descending passage on the word “ lui (pronounced in English as the last few bars are performed thus :

s a mere va - pri er, s a me

When La T osca (Puccini) was produced in French at

O - P the péra Comique , aris , the unfortunate artist to whom was allotted the tenor rOle was expected by the translator to sing at full voice and after a crashing

chord from the entire orchestra , marked ffff in the score, the following words :

As it was found to be out of the question to produce 70 STYLE IN SINGING

f as the e fect desired with the words they stood , the phrase was afterwards changed to :

F ff requently modiﬁcations , most happy in their e ect , are due to the inspiration of a particularly gifted artist .

Vi ardot- G n of Madame arcia , ﬁ ding the phrase the “ ’ ” cabaletta in the aria S e Romeo t u cci se (Romeo e

Gi u li etta ff , Bellini) somewhat weak and ine ective , made the skilful poi ntage here given :

( a s pr i nte d )

Ma s u vo i ca dail s an - gue

Ma s u vo i ca - da il s an - gue A great artist may feel at times the inadequacy of the ’ phrase as it stands to convey justly the composer s idea .

- Take , for instance , the well known change which every soprano who Sings the rOle of Leonora introduces in the

i serere I T a M scene of l roo tore . The passage occurs four

times , in succession , and as printed becomes common place and monotonous . — TRADITION POINTAGE 7 1

a the The accepted traditional , change cert inly conveys impression of Leonora ’s gradually increasing anguish and terror ; not the idea that it is introduced merely to exploit a high tone :

Di di te _ di di te_ arrni ! That this departure from the text must have been sanctioned by Verdi , is , I think , proved by the fact that it has always been sung thus , and the composer himself must often have heard the substitution . He would cer tainl y have forbidden its use , had he not approved of

arti cu la rl ave rs e it , for he was p y to having changes made T in his music . he following anecdote illustra tes this

trait in his character . It was related by the late Mme .

Marie Saxe , better known under her Italianized name of Marie Sasse . This distinguished soprano

P O fo r m singer , a member of the aris péra a nu ber of

n years , was engaged to give a certain umber of per

A i da form ances at the Opera of Cairo . was one of the

operas stipulated for in her contract . She had never

rOle tessi tu ra sung the , and in studying it found the of

the music , at one or two points , a little too high for her h natural means . As s e was compelled by her contract

to sing the opera , she asked Verdi to make some slight

changes to bring the music within her reach . But he

refused absolutely to make the least alteration . Madame Saxe was specially selected by Meyerbeer to ’ create the role of Selika in l Afri ca i ne . She studied the 7 2 STYLE IN SINGING

part for three months with the composer , and sang it P when the work was ﬁrst given at the aris Opéra . She was also chosen by Richard Wagner for the part of Elisabeth when T annhau ser was given its stormy per form ances i m ann - rOle , with N e in the title , at the same

1 theatre in 1 86 . Madame Saxe possessed a score of T annhau ser with ’ the inscription in the composer s handwriting :

A ma cou rageu se ami e

M ademoi selle M ari e S ax e.

’ L A u teu r D E RICHAR W AGN R .

oi nta es The slight modiﬁcations , or p g , asked from

Verdi , were not , I was assured by Madame Saxe , of a

she character to alter either the role or the opera , and remarked (I quote her own words) : Why Should Verdi have shown himself more unreasonable or less yielding ” ? lu s i ntransi eant lu s than Meyerbeer or Wagner (p g , p i ntrai ta ble qu e Meyerbeer ou Wagner ?)

i s In tradition , however , there the true or accepted — tradition so called because believed to have been l sanctioned by the composer himse f , or approved of by competent authorities and i ts use warranted by time

I m l of and the false . This latter s SI p y an accumulation excrescences superimposed on the or1g1nal by individual

whim or personal fancy . These have been invented

74 STYLE IN SINGING

“ ’ In the edition of the well - known air J ai perdu mon

” ‘ Eu r di ce che aré s enz a Eu ri di ce? m Or hée G y ( f ) fro p ( luck) ,

P Vi ardo t—G revised by Madame auline arcia , no mention is m ade of two traditions which have been used and handed down by a number of the most famous singers

rOl r of the e of O phée . I give them here

’ c dé hi re mon coeur . J ai per da mon Eu ry di cc

The change on the third repetition of the principal theme is quite in accordance with the license then accorded in such airs .

A rmi de G re In a special version of the opera ( luck) , vised and edited by the late Sir Charles Hallé, the ﬁrst bars of the great air of Armide in the ﬁrst scene of the

“ ’ A h! s i la li berte ! fourth act , (Ah if my liberty must

n : from me then be taken) , are pri ted thus

si l a li - ber té

The situation is where A rmide perceives the knight R l enaud in the gardens of her enchanted pa ace , whither he has come to destroy the sorceress on account of her magic arts . Although the enchantress knows that the — TRADITION POINTAGE 75

~ i she mission of the knight is to depr ve her of liberty, t o herself succumbs the fatal passion of love . I have brieﬂy described the scene in order that my meaning m a . I s y be clear n the second half of the ﬁr t bar , the a cci accatu ra was never i ntended by the composer to be actually sung as printed . It was his only way of indi

A r cating the sob or Sigh whereby _ mide ﬁnishes her “ ” “ x h ! T he effe Dr e clamation , A _ ct is called the amatic ” sob r - n e o . , and is k own to very pe a singer Here is the ’ composer s meaning , as far as it is possible to convey it in writing :

Armida

Ah! _ s i l a li - ber

(A portamento must be made from the ﬁrst note to the next , when the breath must be taken quickly to give the idea of a sob or sigh . )

Again , in a recent edition of the same air by the dis i ’ t ngu i shed composer Vincent d Indy (Nou velle Edi ti on

Fra n a i se de Mu s i u e C la s si u e g q q ) , occurs the following

ré gnes dans mon cce ur! 76 STYLE IN SINGING

F The effect of the sharp in the last bar , if sung against

n i s the harmo y given , in which the preceding chord

resolved , would be intolerable . Surely , the composer intended a pronounced rallentando on the latter half of

ortamento the bar , and a carrying of the voice by a p to

: the last note . Thus

re gnes dans mon coeur !

In the edition of the immortal air in the opera o f “ ” ! erxes L , universally known as the argo of Handel , ’ d Ind also revised and edited by y , may be noticed the following

’ No v - n ol trag gi no mat 1a ca ra pa cc,

i un a ro-fa nar- vi an stro ra- a-ce l g ga, p p — TRADITION POINTAGE 77

Of course , every operatic conductor knows that the “ ” chord in the orchestra must be played after the voice ,

as the technical phrase has it . But not every pianist or i s ff organist familiar with this usage , and the e ect would

be very disagreeable if given as written . It should be performed thus

’ o - tr i no m i a ca N n vol ag g a l ra pa cc,

au- s tro ra- pa - ce !

er aIn Besides , why claim that a c t edition is revised ” and edited , when all the care and musical knowledge seem to have been expended on the harmonies only?

- Surely , the voice part in these classics is not without i ts need of elucidation .

T he M essi ah An edition of , revised for performance , ' STYLE IN SINGING can scarcely be called a ccu ra te when such defects as the following s occur :

r fr id And they were SO eia a . The following is the authentic mode of performing the

’ And they were sore afraid . In the same edition for the solo s1ngers occurs : Be hold and see ” )

La rg o '

- . - the re be an y s o r row like uh to H i s s orrow .

But by a slight syllabicrearrangement the disagreeable “ n a u n - to acce t on the last syll ble of is avoided , and “ be the accent placed on the word His, to which it ’

ai . longs , while the composer s music rem ns untouched

li ke un to H i s s o r- r ow .

Again , in the same air occurs

( as printe d )

- lik e nu to H i s s o r r ow .

( should be s ung ) — TRADITION POINTAGE 79

r t he o i While ecognizing beneﬁts conferred by some , i these specially prepared editions , there rema ns still more to be accomplished in this direction before the

work is complete . A ﬂood of light has been thrown on the dark and nebulous places Of the ins trumental Classics

s e and by various di tinguish d highly competent musicians .

I r b hi It S sincerely to e hoped , in the interests of t s branch

ae i art of the sthet cs of vocal , that those competent to

W Ill so speak with authority do , in order that in this “ crooke shall direction also the d be made straight , and ” the rough places plain . I admit that this question of revising the composer ’s written text is an n e xceedi ngly deli cate and difﬁcult

one . It should be attempted only by those possessed

of the requisite authority , those who combine tact and

‘ ' ‘ tas te wi th judgment and experience . To these qualities should be added a sincere and reverential desi re to place in the highest relief the meaning of both poet and

composer .

I have said that the license formerly accorded by composers to singers— particularly operatic singers manifested itself in a twofold form . The second of these

' phases was the introduction in the body of a theme or

m . melody , and also at its close , of embellish ents Some times the composer brieﬂy sketched these ornam en ts ; at

other times their places only were in dicated . The orna ments in the body of an air are known as a bbelli menti

ori tu re cadenz e . or ﬁ ; those at its close , as 8o STYLE IN SINGING

i s f Here an example of the former , taken rom the duet in Eli sa e C lau di o by Mercadante

’ S un i stan-te al -il of fer ta !fun s o i o ed gl

- - va oil l as s e il mi o ge ni o pri mi e ro.

The following i s the same passage ornamented

cil - las-s e il mi o g e- ni

(AS sung by Mme . Malibran . Quoted from M e ” cani sme des T rai ts La , by de Madelaine , ’ The rOle of Rosina in Rossini s Il Barbi ere has long been a favourite peg with prime donne on whi ch to hang interpolated ornaments for the di splay of their vocal agility . Some of these are not always in good

‘ I taste , being trivial or banal n character , thus concealing the natural charm of the original melody under a species

. O as of Henri Herz variations thers , however , such P S those used by the atti and the embrich , for instance , are of great originality and excellent effect . Here are some of the traditional ornaments and

8 2 IN SINGING

H ea . etta In the same bar Mlle Sontag , who sang

an i i i e l wi : the a sem tone h gher , ntroduc d the fo lo ng

mi o —s a

Ro ss1n1 no c , wrote adenza , to the air

l o vi n cc - rol

: Cadenz a of Mlle . Sontag

vi n cc rb!

I have already spoken of the bad taste exhibited by some mediocre singers in covering a coloratura air with

reco niz e tc . so many roulades , , as to render it barely g I able . t was after hearing one of his own arias over m R loaded and disﬁgured in this anner that ossini , who was noted for his biting wit and stinging sarcasms , is said to have remarked : What charming music ! Whom is it by ?” — TRADIT ION POINTAGE 83

n D oniz e ttI a nd Belli i , composers of their school . sometimes did little more than hand over to the singer w engaged to create their works a rough sketch , as it ere , which the artists were supposed to fill in and perfect “ n ori tu re Si gers were expected to add such fi , or flowers , as would best display their salient points of style and

i . indiv dual characteristics The Cavatina , or slow move m ent of the aria , was the medium which called for the

ex ressIve SIn In qualities of p g g , while the Cabaletta was a vehicle for the display of virtuosity and technical mastery . In this latter movement , the equivalent of R m the ondo in instrumental music , the perfor er was left perfectly free to use such embellishments as set forth his own gifts to the greatest advantage . Some singers excelled in bold and rapid ﬂights of scales , chromatic and diatonic ; others , in the neat and clean

x rai s cut e ecution of involved t t or ﬁgures . It must be

‘ rem embered tha t , the great singers of the past were per fectl y competent to add these ornaments themselves , as they possessed a complete and sound musical education . More : sometimes these singers even collaborated with

i n l . C rescent i the composers , the last famous ma e — sopranist , is reputed by history or legend the two are not infrequently synonymous—to have been himself “ - Ombra adora ta the composer of the well known aria , ’ introduced by him in Zingarelli s opera Romeo e Gi u li etta R m , as also of the prayer sung by o eo in the same

m u work . His singing of it is said to have oved his a dience

the to tears , and gained for him the decoration of Iron Em Crown , conferred upon him by Napoleon I . The 84 STYLE IN SINGING

eror ff p also induced him , by the o er of a large salary , to

P a settle in aris s professor of singing . — When these great artists their career as public singers — being ended began in turn to form pupils , they were

‘ fi for admirably tted the task of imparting instruction , being excellent musicians , and , as I have said , com posers of no insignificant merit . They had a sound theoretical knowledge , compared with which that of many of our modern singers seems but a pale and feeble reflection . The collaboration of composer and interpreter i s not altogether unknown in the domain of instrumental I t music . s i not historical that Mendelssohn profited largely from the wise counsels of the celebrated vio lini s t Ferdinand D avid in the composition of his con certo for violin and orchestra? This does not mean that D avid contributed any musical phrases or ideas to the work ; but that his practical knowledge of the special characteristics and capabilities of the solo instru ’ ment enabled him to suggest how the composer s fi in l thoughts might be most tt g y presented . Returning to the question of the introduction of ’ ornaments , etc . , into a composer s work , the following extract may be of interest to the musical student . It is from a volume of criticism , now out of print , a copy of which is possessed by the present writer . The article

La Pa tri e appeared in more than forty years ago , and was called forth by the ornaments written by the then

- e well known singer and teacher of great ability , St phan L de a Madelaine . These changes were for the great — TRA DITION W AGE 85

of e Der Frei sch tz air Agath in the second act of u , and were the cause of much discussion among the music critics of the time . “ Following the example of celebrated vocal virtuosi whom he had formerly known , and availing himself of

La the license then permitted , the master (de Madelaine)

l ha c n ements . has introduced several a terations ( g ) These , however , in no sense clash with the original character of the air itself. That the introduction of such ornaments has cause d an outcry , is not surprising . We should remember ,

' Frei schutz however , that the was written at a period when , in certain places , the composer left the ﬁeld entirely open to the singer , permitted him to make such changes as he might deem necessary . It must not be thought that in so doing the interpreter corrects the

: he sim l composer p y seeks to express , to the utmost of ‘ his abilities , the intention of the author . “ ni R The operas of Belli , of ossini , and , in general , i of all the Ital an masters , are full of these intentional

a lacu nes . g ps ( ) which were ﬁlled in by the singers Nay , in the earliest days of the Neapolitan school , still greater liberty was allowed ; the recitatives were all improvised by the executants , and were not even noted down .

E maestro al cembalo ach singer made his own , which the accompanied with a few simple chords . “ Norma cantatri ce In the cavatina in , each intro duces her own changes on the recurrence of the principal

' theme , and the public applauds . Why then this outcry

' against the same procedure in Der Frei schutz STYLE IN S INGING

T hat thi s custom or racti ce mi ht lead to reat a bu se p g g , and that i t i s necess ar to u root i t radu all i s ou r y p g y , i opi n on . But this radical reform can be realized only in forthcoming works ; those of the ancient school ought to be interpreted by followmg the conventions which the composer himself has respected . “ chan e ents L That the g m written by M . de a Madelaine

’ Frei schutz for the air of the are permissible , is proved by the fact that Wieber himself has sanctioned and

a s approved them , , if need be , a great number of con ” F ! - M . N temporaries can attest ( RA C ARIE . )

Whoever has had the good fortune to hear Mme . ’ Marcella Sembrich in the role of Amina , in Bellini s

La S onnambu la e , will have heard an xcellent example l of remarkable technica skill or virtuosity , with irre

r h l p oa c ab e taste regulating its display . The ornaments v “ rondo n ale Ah non and changes used by her in the ﬁ , , ” i t u n e e . a g g , are models of their g nre Wh else could be expected of an artist so gifted as to be able to perform ’ the lesson - scene in Rossini s Il Barbi ere (introducing therein the air with variations by Proch) in Italian ; G m and in the course of the same scene sing , in er an , “ ” 1 ch li ebe di ch G , by rieg , and play the Andante and

R R Béri ot ondo usse , for violin , by de , and a valse by Chopin on the piano ?

La S onnambu la The opera , , requires much rearrange ment both of the music and of the verbal text , to which it is badly ﬁtted . The greater part of the music written

E s for lvino has to be transpo ed , mostly a third lower , in order to make it practicable under existing conditions . — TRADITION POINTAGE 87

No effect whatever could be made were a cantatrice to follow implicitly the written notes of this opera , such being merely a rough sketch , as it were , of the ’ h composer s ideas , whic the singer is supposed to com “ s f A h! n on plete . Several in tances rom the andante l i rarti f . credea m , will su ﬁce to prove this The fol ow ing is the printed version .

Ah non credea mi rar

- - - o fi o re . pre sto e s tin to,

’ This is but a suggestion of the composer s idea . The artist will therefore not follow too closely the printed version ; but following the evident indications for a pathetic and expressive canta bi le will perform it thus

r e - sto e - st - to o e p in , fi o r .

Again a brief outline , as printed

Andante 88 STYLE IN SINGING

' a s ﬁlls which , if sung follows , in the details

no che - , _ungi or no s ol

Also the passage in the same aria , where Amina sobs as she slowly lets fall to the ground the blossoms given E re her in the ﬁrst act by lvino , requires an entire ’ arrangement of the syllables to bring out the composer s

meaning .

Andante

mor.

’

Let any one go over this passage carefully , and he

- will be convinced that it is , as I have said , merely a ’ sketch of the composer s idea . As it stands in the

published version it is impossible of execution , and if it

ff : l were possible , would be devoid of all e ect the sy la

no bles being wrongly placed , opportunity for breathing

i is given the S nger , and the ﬁnal cadenza is marred by “ ” re being allotted to the word amore . Here is a

oi the vision latter , the cadenza being one I wrote for

9o STYLE IN SINGING duction of a landscape bears to the same scene as viewed

nd a transmitted to canvas by a great painter .

The sincere artist will carefully consider every detail .

He will not be content to study his own part only , but m will study the orchestral score which acco panies it .

set He will , in fact , follow the example by good string n quartet players , who listen atte tively to the other instruments during rehearsals , so that the perfect welding together of the different parts may form a homogeneous whole . Such an artist , in complete p ossession of the mechanical resources of his art , will utilize them all to

x embody perfectly that which , with the composer , e isted

n e only as a mental co cept , inad quately transcribed , — owing to the limitations of his media pen , ink and papei . And it is only when in possession of the authentic O O h traditions of ratorio and pera that the singer , suc t as I have supposed , will be able to vivify these grea creations , will be able to invest them with warmth and l colour , and thus make clear all their meaning , revea all their beauty . CH APTER V

REPERTOIRE

LT H OUGH repertoi re forms no integral part of l b Sty e , eing rather the medium for its practical

application , a few words on this important subject may not be out of place . The répertoire necessary for a singer

O . may be divided into two sections , pera and Concert

The latter includes Oratorio and Cantata . D In spoken rama , a performer may begin his career by playing the youthful lovers , and end it by imper n in so a t g the heavy fathers . He may ﬁrst sigh as R as . O omeo , and later storm Capulet Not so in pera , or D lyric rama , where the line of work to be followed is de termined at the outset by the type of voice possessed by

i em loi a s the aspirant , and wh ch line (or p , it is termed) he follows of necessity to the end of his professional career .

w few i ns tan ces I kno there are some of artists who , ' d rOleS later , have successfully a opted demanding another range than the one needed for their earlier efforts . But ’ it i s an open question whether the performer s i n stru ment really changed . It must either have been wrongly classiﬁed at one of the two periods , or the vocal key — — board so to speak transposed a little higher or lower . The character of the instrument remains the same ; a viola strung as a violin would still retain its viola quality of tone . The case is different where a soprano who may have t 9 2 STYLE IN SINGING

begun by singing the ﬂorid roles of opera , has so gained in volume of voice and breadth of style as to warrant her devoting these acquisitions to characters requ IrIng more dramatic force than was needed , or could be l rO es . . E utilized , in coloratura Mlle mma Calvé , L L Mesdames illi ehmann and Nordica , are notable ex E amples of this . ach of these distinguished artists “ began her career by singing what are known as Prin ” rOles cess , before successfully portraying Carmen or

Br il ii nnh des . the As a rule , it is by singing many different roles that the lyric artist gains the skill and sureness that may ultimately render him famous in a

few . . G Mlle randjean , now principal ﬁrst dramatic

o P O era sopran at the aris p , began her career there — after a few appearances at the Opéra - Comique by singing the very small part of the nurse Magdalene in ’

Di e M ei stersi n er . P W agner s g erseverance , if allied to ability , can accomplish much . When the type of voice and the natural temperament — — of the Singer do not accord as sometimes happens he would be unwise not to adhere to the work for which

hi s . vocal means , not his preference , are best adapted

To follow the contrary path , and essay roles requiring for their fitting expression more dramatic fire and intensity than his vocal instrument can supply , would be to shorten his career , owing to the certain deterioration f and possible extinction of the voice . There are su ficient w voiceless examples to prove , ere proof needed , the truth of this assertion ; and their atonic condition i s due to the cause mentioned .

94 STYLE IN SINGING

l r i gir ish Gilda or a consumptive T av ata . Such dis crepancies may be overlooked by the public in the case of old established favourites , but it would be unfortunate for the débutant to commence with these drawbacks . And yet there have been a few famous artists whose extraordinary vocal talent atoned for other very pro h nou n ced . Pi saroni defects Suc an one was the , a

- celebrated contralto , said to have been so ill favoured that She always forwarded her likeness to any opera

she director to whom was personally unknown , who

so x offered her an engagement . But e ceptional were her voice and talent , that certain of her contemporary artists have declared that by the time Pi saroni had

was reached the end of her ﬁrst phrase , the public

already conquered . A s personal preference is very often mistaken for w aptitude or natural ﬁtness , a lyric artist is not al ays the best judge as to which of the roles in his répertoire are really ﬁtted to d isplay his abilities to the best advan

tage . The singer combines in himself both instrument

and performer ; therefore he rarely , if ever , hears himself ' i quite as does another person . Until possessed o the

ripened judgment gained by experience , he would do well to be guided in this matter by one who , to the knowledge required , adds taste and discernment . That a liking or preference is sometimes mistaken for the aptitude and gifts necessary for the successful carryin g

i s out of certain work , too well known to be even ques

ti oned . It is the constantly recurring case of the low

comedian who wishes to play Hamlet . A young tenor REPERTOIRE 95 whose great vocal and physical advantages made him an D Ri oletto ideal uke in g , a fascinating Almaviva in

Il B arbi ere , found but little enjoyment in life because his director refused to allow him to try Otello and

h hi nﬁ a u tted . Tann user , for w ch he was vocally Never show the public what you cannot do , is the best advice E that can be given in such cases . ven the ﬁnest and most experienced Singers are occasion ally liable to make

. P mistakes in the choice . of roles Madame atti once

Brii nn hilde sang Carmen , and Madame Melba essayed ; but I am not aware that either of these famous canta

x trices repeated the e periment .

’ Fo r those who intend to follow a concert - singer s m career , there is a vast literature of vocal usic specially written for this purpose , from which to select . There are few modern operatic excerpts which do not suffer somewhat by being transplanted from the stage to the

- concert platform . In no case is this more clearly proved than in the selections so frequently given from ’ - f k . O Wagner s music dramas course , I am spea ing more particularly of those extracts which require the e services of a vocalist . Such selections giv n in the ’ concert - room are in distinct violation of the composer s

x . own wishes , frequently e pressed Besides lacking the

and necessary adjuncts of gesture , costume scenery , the musical condi tions of the concert - room are very u n favourable to the unfortunate singer . He has to struggle 96 STYLE IN SINGING to make himself heard above the sonorities of a powerful orchestra generally numbering over a hundred musicians , and placed directly around and behind him , instead of on

as . a lower level , in the case of a lyric theatre Besides ’ which , Wagner s works can now be heard in all large cities under the conditions necessary for their proper

- presentment , and as intended by their author composer .

as Therefore , there is no longer the same reason may

a o have existed years g , for the performance of extracts at purely symphonic concerts . In cases where the singer has to select numbers for a symphonic concert and to be accompanied by an orches

i s tra , there a mine of wealth , not yet exhausted , in the

of . operas the older classic composers These , being less heavily orchestrated than the ultra - modern works written ff for the theatre , do not su er in the same degree from

the different disposition of the orchestral instruments . There are also a few vocal numbers with orchestral “ ” accompaniments written in the form of a scena , such “ ” “ erﬁdo Of as the Ah , p B eethoven , and the Infelice

of Mendelssohn , which might possibly form an agreeable change to the frequenters of symphonic concerts,jaded “ - e D theu re a little , perhaps , with the oft repeat d ich

” “ ” ' Halle and Prayer from T annhau ser . In order to render them more in keeping with the

a accom ani ~ conditions of symphonic concerts , orchestr l p h ments , to many songs by the classic composers , ave been made by excellent musicians from the original

- piano part . The ethical question involved in the pres entation of such works in a form other than that written

CHAPTER VI

CONCLUSION

H E art of Singing is at present in a period of transi

ti on ; and all unsettled conditions are unsatisfactory . Former standards are being thrown down ; and the new

n e o es are not yet elect d , or , if chosen , not yet ﬁrmly

ﬁxed in the places of the old . All Arts have a period in their history when they seem to reach their culminating point of technical perfection . Perhaps thi s point i s reached when the art is practised fo r o wn its sake , without giving much consideration or attributing special importance to what it expresses . G Sculpture reached its apogee under the reeks , who , F — more than any other race , prized orm particularly

the as manifested in its highest expression , human P ﬁgure . ainting also was at its climax of technical R development during the enaissance , when life was full of movement , and costume picturesque . But at this

as period in each of the two arts , skill was regarded of more importance than the subject . In other words , the perfection of the sculptor ’s statue or the scene depicted by the painter was of more interest and importance : than the object or scene itself . If the work were admira im bly executed , the story it told had relatively little portance .

Singing , which is speech conveyed through music , similarly reached its highest poInt of technical excellence CONCLUSION when the V oi ce of the singer was considered as little more than a mechanical instrument ; when beauty of tone - quality and perfect virtuosity were the only ends for which to strive . This period was at its height with

F ari nelli ff l Giz z i ello , Ca arel i , , and ended perhaps with

C rescentini . That these singers possessed extraordinary technical skill , or execution , is amply attested by the exercises and airs , still extant , written for them by

P racini V e . orpora , Hasse , , and others That they also had musical sentiment or expression , is authoritatively proved from the emotion caused in their audi tors by their performance of a slow movement or canta bile .

B ut it was musical expression only , and as if performed n on a solo i strument , as a ﬂute or violin , which does not possess the faculty of uttering words . The operas in s which these singers appeared had ome plot or story , it is — true ; but its importance was of the sli ghtest analogous

as to , and of the same value , the subject in painting and sculpture at corresponding periods of their hi story .

' these two - But singing, like sister arts , has passed the

c d period when it was , or oul be , appreciated purely for the perfection of its technique . It has developed and n di broade ed in other rections , and more now is demanded of the singer than mere mechani cal perfection . Com — — posers notably Gluck began to perceive the great possibili ti es to be attained by the development of the

G i s P reek lyric ideal ; that , the presentation of the oetic di idea by , and through the me um of , music ; instead of

its e being, as formerly , merely xcuse , a framework for the musician upon whi ch to hang melodies . STYLE IN SINGING

G was Although luck , like all innovators , considered

hi s by contemporaries as a revolutionary and iconoclast , he only strove to develop and perfect an art that had already existed in a primitive form . This was the art of animating a poetic idea by means of melopoeia ; which Wagner later developed still further .

G s — radually , two es entials of good singing tone — quality and truth of intonation began to be neglected . But why should either of these two factors be less essential to a singer than to an instrumentalist?

Of has late it been tacitly assumed , if not boldly c ‘ assIon laimed , that sentiment , p , temperament , atoned — — for even if they di d not entirely replace voice and lack of skill in the artist . But what constitutes an artist? Art has been deﬁned by an English lexicog “ ra her as D p oing something , the power for which is acquired by experience , study or observation and an ”

i One . art st , as skilled in the practice of any art The ’ “ ’ ’ F d Alembert L art s ac u i ert ar rench writer says , q p ’ ’ ” l étu de et l exerci ce (Art i s acquired by study and practice) . If these deﬁnitions of art be accepted , its external expression or manifestation is essential through

i s some vehicle or medium , otherwise there neither art nor artist . Concepts or ideals have their genesis in mind , but were they to remain there , the poet , painter , sculptor or musician (composer or interpreter) would

t hi s have no right to the title of artis , because concepts

- remained in thought form only , and unexpressed .

1 0 2 x STYLE IN SINGING

i s importance , in my opinion , attached to the latter f c o . branch , at the ost the former I repeat , an opera

an a singer should be a singer who acts , not ctor who

sings .

=I<

On the occasion of the bestowal of awards at the

rv Ir 1 P C on se a to e 0 . D aris in August , 9 5 , M ujardin

U - r F hi s Beaumetz , nder Sec etary for the ine Arts , in address to the students made pointed allusion to the difference of results between the instrumental classes “ and those for singing . Said the orator : It is claimed

n i s : s of that si ging in a tate decadence , and that the i ‘ cause s largely due to the style of mode rn music . ! It is rather owing to the fact that this art i s not studied at present with the same methodic diligence that formerly

e obtained . I would remind the stud nts of singing that hi a they gain not ng by neglecting the e rlier studies , and

that their professional future would be better assured .

s . if it rested on a olid basis of vocal technique It is ,

therefore , in their interest that , with a view to l ass f institu this important point , certain re orms will be The professors of the classes for singing were also advised to draw more on the great classic writers for

of s the voice , instead conﬁning themselve p rincipally

to the operatic répertoire .

* ’ On e o f thes e re o rm s wa s that the ﬁrst ea r s stu d i s to f y y , d evoted enti rely t o t on e- form ati o n ; n o a tt enti on b ei ng pa id t o o n n e od Nor a re the ro es s ors the e m o m ent of the t e s i m y . pl y l — p f o f si ngi ng a t the C o n s er va t o i re n o w s el e cted a s wa s form erly the

- n x - e r - n r ca s e ex clu s i vely fro m a m o g e o p a si g e s . CONCLUSION

E of very art reaches its apex perfection , and then

seems to decline ; it may even temporarily disappear . m But , being i mortal , it is never lost . It ﬁnds other of i e modes manifestat on , and reapp ars in other forms . The principles on which it is founded do not change ; but constantly changing condi tions necessitate a new application of these principles . This necessity was acknowledged for poetry itself by André C héni er :

Su r des ensées nou veau x ai sons des ver a s nti u es . p , f q Let ( us embody modern thoughts in classic verse . ) Music follows the great laws of development to which f . . im all things are subject It would be oolish , nay , F possible , to try to resuscitate an old form of art . oolish , because the art itself would have lost all except its di archaic charm or interest ; impossible , because con tions have so completely changed that the attempt

of would be merely the galvanizing a corpse , not its reanimation .

l of f Similar y , the art singing can be success ul only in proportion as it recognizes the existence of other conditions . These it meets by observing the old prin

ci les of . p , but changing their mode application

The education of the singer of to - day requires to be conducted on broader and more comprehensive lines ff di than in the past , on account of the di erent con tions — i h . s w ich have presented themselves Singing that , — the alliance and utterance of Music and Poetry i s one of the highest manifestations of the Beautiful , and is ’

nd . man s supreme a greatest creation Therefore , sing ing will not seek in future to rival a mechanical i nstru 1 0 4 1: STYLE IN SINGING

f e o ment . It will , it is vident , give to the p etic idea a

r d mm n n e o a t . promine t , though not a p , place But this re ‘ poetic idea can be vealed to the listener only by a , singer who is master of all the technical phases of his h a art . T ese component p rts of his vocal education — . must of necessity comprise as was laid down in the — P opening chapter of this work ose of Voice , Technique ,

Re ertoire . Style , and p

“ It has been demonstrate‘ d that the ﬁrst of these elements is essential , because the other stones of the complete structure cannot be successfully laid on an m insecure foundation . The singer ust have the second ,

he or will be unable to materialize his concept , like an unskilled carver who possesses the necessary material l and too s , but lacks the technical ability to utilize either

He must possess Colour , whereby his vocal palette is set ‘ with the varied tints necessary for the different sentiments to be expressed ; Accent , so that character may be given to the music and appropriate emphasis

x P a to the te t ; and hrasing , in order th t he may punctuate the music effectively and the words intelligently . P all erfect master of these , he is in possession of that m goes to make up Style . And , if these pre ises be

s accepted , it must be evident that he is in posses ion of the qualities that were -necessary to m ake singers great

the I in past , and are ndispensable to make them great in the fi ftu re .