,,to ,,my ,,pupils ,,style ,,in ,,singing ,,by ,w4,e4 ,,haslam ,,new ,,york3 ,g4 ,,schirmer #aiaa ,copyright1 #aiaa ,by ,g4 ,,schirmer #bbfgj ,,prefatory ,,note ,of making many books there is no end4 ,surely1 the weary observation of the sage must have an especial application to the literature of ,song4 ,one could not number the books--anatomical1 physiological1 philosophical--on the ,voice4 ,a spacious library could easily be furnished with ,methods of ,singing4 ,works treating of the laws governing the effective interpretation of instrumental music exist4 ,some of them1 by acknowledged and competent authorities1 have thrown valuable light on a most important element of musical art4 ,had ,i not believed that a similar need existed in connection with singing1 this addition to vocal literature would not have been written4 ,in a succeeding volume on ,lyric ,declamation3 ,recitative1 ,song and ,ballad ,singing1 will be discussed the practical application of these basic principles of ,style to the vocal music of the ,german1 ,french1 ,italian and other national schools4 ,w4,e4 ,,haslam4 #b1 rue ,maleville1 ,parc ,monceau1 ,paris1 ,july1 #aiaa4 ,,introduction ,in listening to a ,patti1 a ,kubelik1 a ,paderewski1 the reflective hearer is struck by the absolute sureness with which such artists arouse certain sensations in their auditors4 ,moreover1 subsequent hearings will reveal the fact that this sensation is aroused always in the same place1 and in the same manner4 ,the beauty of the voice may be temporarily affected in the case of a singer1 or an instrument of less sthetic tone-quality be used by the instrumentalist1 but the result is always the same4 ,what is the reason of this8 ,why do great artists always make the same effect and produce the same impression on their public8 ,why1 for instance1 did the late ,mme4 ,tietjens1 when singing the following passage in ,handel's ,messiah1 always begin with very little voice of a dulled quality1 and gradually brighten its character as well as augment its volume until she reached the high ,g-sharp which is the culmination1 not only of the musical phrase1 but also of the tremendous announcement to which it is allied8 ,music3 ,for now is ,christ risen1 for now is ,christ risen4 ,this last tone was delivered with the full force and brilliance of her magnificent voice1 and was prolonged until the thrill produced in the listener became almost painful in its intensity4 ,again ,i ask1 why did this world-famous singer perform this passage always in the same way8 ,unreflecting people may reply vaguely that it was because the artist sang with expression4 ,but what constitutes expression in singing8 ,no great artist--no matter what the vehicle or medium through which his art finds manifestation--does anything at random4 ,the wind bloweth where it listeth only in appearance2 in reality1 it is governed by immutable law4 ,similarly1 the outward form of an art is only apparently dictated by caprice and freedom from rule4 ,the effective presentation of every art is based on well-defined and accepted principles4 ,and it is with the earnest desire to throw light on this most important phase of vocal art1 that ,i present the principles of ,style in ,singing4 ,,contents ,,page ,,prefatory ,,note v ,,introduction vii ,,chapter ,i3 ,elements of ,vocal ,training #a ,emission of ,voice #b ,,chapter ,,ii3 ,the ,value of ,technique #g ,,chapter ,,iii3 ,analysis of ,style #ab ,colour #ad ,accent #ba ,intensity #bg ,phrasing #cb ,portamento #cg ,variations of ,tempo #da ,,chapter ,,iv3 ,tradition #dd ,pointage #fa ,,chapter ,v3 ,rpertoire #ia ,,chapter ,,vi3 ,conclusion #ih ,,style ,,in ,,singing ,,chapter ,i ,,elements ,,of ,,vocal ,,training ,if the practical education of the singer be analyzed1 it will be found to comprise four fundamental elements3 7#a7 ,,pose3 or ,emission of voice2 7#b7 ,,technique3 or the discipline of the voice considered as a musical instrument2 7#c7 ,,style3 or the application of the laws of artistic taste to the interpretation of vocal music2 7#d7 ,r,,pertoire3 or the choice1 in the literature of vocal music1 of works most suited to the voice1 temperament and individuality of the particular singer4 ,i have classed these four elements in their relative order4 ,they are1 however1 of equal importance4 ,until the ,pose and ,technique of a voice are satisfactory1 attempts to acquire ,style are premature4 ,on the other hand1 without ,style1 a well-placed voice and an adequate amount of ,technique are incomplete2 and until the singer's education has been rounded off with a ,rpertoire adapted to his individual capabilities1 he is of little practical use for professional purposes4 99 99 99 99 99 ,,emission ,,of ,,voice ,great natural gifts of temperament and originality may1 and sometimes do1 mask defects of emission1 particularly in the case of artists following the operatic career4 ,but the artistic life and success of such a singer is short4 ,violated ,nature rebels1 and avenges herself for all infractions of law4 ,a voice that is badly produced or emitted speedily becomes worn1 and is easily fatigued4 ,by an additional exertion of physical force1 the singer usually attempts to conceal its loss of sonority and carrying-power4 ,the consequences are disastrous for the entire instrument4 ,the medium--to which is assigned the greater portion of every singer's work--becomes breathy and hollow1 the lower tones guttural1 the higher tones shrill1 and the voice1 throughout its entire compass1 harsh and unmanageable4 ,in view of its supreme importance1 it is scarcely necessary to dwell upon the self-evident fact that this foundation--,emission1 or ,placing of the voice--should be well laid under the guidance of a skilled and experienced singing-teacher4 ,nothing but disappointment can ensue if a task of such consequence be confided1 as is too frequently the case1 to one of the numerous charlatans who1 as ,oscar ,commettant said1 are not able to achieve possibilities1 so they promise miracles4 ,the proper ,classification1 and subsequent ,placing1 of a voice require the greatest tact and discernment4 ,true1 there are voices so well-defined in character as to occasion no possible error in their proper ,classification at the beginning of their studies4 ,but this is not the case with a number of others1 particularly those known as voices of mezzo-carattere 7demi-caractre74 ,it requires a physician of great skill and experience to diagnose an obscure malady2 but when once a correct diagnosis is made1 many doctors of less eminence might successfully treat the malady1 seeing that the recognized pharmacopoeia contains no secret remedies4 ,let the student of singing beware of the numerous impostors who claim to have a ,method1 a sort of bed of ,procrustes1 which the victim1 whether long or short1 is made to fit4 ,a method must be adapted to the subject1 not the subject made to fit the method4 ,the object of all teaching is the same1 viz41 to impart knowledge2 but the means of arriving at that end are multiple1 and the manner of communicating instruction is very often personal4 ,to imagine that the same mode of procedure1 or method1 is applicable to all voices1 is as unreasonable as to expect that the same medicament will apply to all maladies4 ,in imparting a correct emission of voice1 science has not infrequently to efface the results of a previous defective use1 inherent or acquired1 of the vocal organ4 ,hence1 although the object to be attained is in every case the same1 the modus operandi will vary infinitely4 ,nor should these most important branches of ,classification and ,production be entrusted--as is often the case--to assistants1 usually accompanists1 lacking the necessary training for a work requiring great experience and ripe judgment4 ,to a competent assistant may very properly be confided the preparation of ,technique1 as applied to a mechanical instrument3 ,all violins1 for instance1 are practically the same4 ,but voices differ as do faces4 ,the present mania for dragging voices up1 and out of their legitimate tessitura1 has become a very grave evil1 the consequences of which1 in many instances1 have been most disastrous4 ,tolerable baritones have been transformed into very mediocre tenors1 capable mezzo-soprani into very indifferent dramatic soprani1 and so on4 ,that this process may have answered in a few isolated cases1 where the vocal organs were of such exceptional strength and resistance as to bear the strain1 is by no means a guarantee that the same results may be obtained in every instance1 and with less favoured subjects4 ,the average compass in male voices is about two octaves minus one or two tones4 ,i mean1 of course1 tones that are really available when the singer is on the stage and accompanied by an orchestra4 ,now1 a baritone who strives to transform his voice into a tenor1 simply loses the two lowest tones of his compass1 possibly of good quality and resonance1 and gains a minor or major third above the high ,g 7sol7 of a very poor1 strained character4 ,the compass of the voice remains exactly the same4 ,he has merely exchanged several excellent tones below for some very poor ones above4 ,i repeat1 one who aspires to be a lyric artist requires the best possible teacher to guide his first steps2 he may consult an inferior or incompetent professor1 when so firmly established in the right path that he cannot possibly be led astray4 ,it is a common belief that singing-teachers of reputation do not care to occupy themselves with voice-production1 or are unable to teach it4 ,this is a serious error4 ,a competent professor of singing is as capable of imparting the principles of this most important branch1 as of directing the more sthetic studies of ,style and ,rpertoire4 ,all the really great and illustrious singing-masters of the past preferred to form the voices of their pupils4 ,to continue and finish a predecessor's work1 or to erect a handsome and solid structure on defective foundations1 is always a difficult task2 sometimes an impossible one4 ,then1 as regards the pupil1 particularly one studying with a view to a professional career1 a defective preparatory training may eventually mean serious material loss4 ,the money and time spent on his vocal education is1 in his case1 an investment1 not an outlay2 the investment will be a poor one1 should it be necessary later to devote further time and expend more money to correct natural defects that ought to have been corrected at the beginning of his studies1 or to eradicate faults acquired during their progress4 ,furthermore1 the purpose of some part of a singer's preliminary education is to strengthen and fit the voice for the exacting demands of a professional career4 ,as the training of an athlete--rower1 runner1 boxer1 wrestler--not only perfects his technical skill1 but also1 by a process of gradual development1 enables him to endure the exceptional strain he will eventually have to bear in a contest1 so some of a singer's early studies prepare his voice for the tax to which hereafter it will be subjected4 ,if those studies have been insufficient1 or ill-directed1 failure awaits the dbutant when he presents himself before the public in a spacious theatre or concert-hall and strives1 ineffectually1 to dominate the powerful sonorities of the large orchestras which are a necessity for modern scores4 ,a sound and judiciously graduated preparatory training1 in fact1 is essential if the singer would avoid disappointment or a fiasco4 ,the vocal education of many students1 however1 is nowadays hurried through with a haste that is equalled only by the celerity with which such aspirants for lyric honours return to obscurity4 ,,chapter ,,ii ,,the ,,value ,,of ,,technique ,briefly defined1 the singer's ,technique may be said to consist principally of the ability to govern the voice in its three phases of ,pitch1 ,colour1 and ,intensity4 ,that is1 he must be able to sing every note throughout the compass of the voice 7,pitch7 in different qualities or timbres 7,colour71 and with various degrees of power 7,intensity74 ,and although the modern schools of composition for the voice do not encourage the display of florid execution1 a singer would be ill-advised indeed to neglect this factor1 on the plea that it has no longer any practical application4 ,no greater error is conceivable4 ,should an instrumental virtuoso fail to acquire mastery of transcendental difficulties1 his performance of any piece would not be perfect3 the greater includes the less4 ,a singer would be very short-sighted who did not adopt an analogous line of reasoning4 ,without an appreciable amount of agilit1 the performance of modern music is laboured and heavy2 that of the classics1 impossible4 ,in fact1 virtuosity1 if properly understood1 is as indispensable to-day as ever it was4 ,as much vocal virtuosity is required to interpret successfully the music of ,falstaff1 in ,verdi's opera1 as is necessary for ,maometto ,secondo or ,semiramide by ,rossini4 ,it is simply another form of virtuosity2 that is all4 ,the lyric 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 training1 and responsive to the slightest suggestion of an artistic temperament4 ,in short1 virtuosity may have changed in form1 but it is still one of the cornerstones of the singer's art4 ,an executive artist will spare no pains to acquire perfect technical skill2 for the mtier1 or mechanical elements of any art1 can be acquired1 spontaneous though the results may sometimes appear4 ,its primary use is1 and should be1 to serve as a medium of interpretation4 ,true1 virtuosity is frequently a vehicle for personal display1 as1 notably1 in the operas of ,cimarosa1 ,bellini1 ,donizetti1 and the earlier works of ,rossini and ,verdi4 ,at its worst1 however1 it is a practical demonstration of the fact that the executant1 vocal or instrumental1 has completely mastered the mechanical elements of his profession2 that1 to use the argot of the studios1 il connat son mtier 7he knows his trade74 ,imperfect technique1 indeed1 is to be deprecated1 if merely for the reason that it may debar a singer from interpreting accurately the composer's ideas4 ,how seldom1 if ever1 even in the best lyric theatres1 is the following passage heard as the composer himself indicated3 ,music3 ,plus blanche ,les ,huguenots3 ,act ,i ,meyerbeer ,plus pure1 plus pure qu'un jour de printemps or the concluding phrase of ,celeste ,aida 7in ,aida1 ,act ,i71 as ,verdi wrote it and wished it to be sung3 ,music3 un trono vicino al sol1 un trono vicino al sol4 ,at present the majority of operatic tenors1 to whom are assigned the strong tenor 7fort tnor7 rles1 can sing the higher tones of their compass only in forte1 and with full voice4 ,thus an additional and very charming effect is lost to them4 ,yet ,adolphe ,nourrit1 who created the rle of ,raol in ,les ,huguenots1 sang1 it is said1 the phrase as written4 ,the late ,italo ,campanini1 ,sims ,reeves1 and the famous ,spanish tenor ,gayarr1 were all able to sing the ,music mezza voce1 by a skilled use of the covered tones4 ,i do not ignore the fact that cases occur where artists1 owing to some physiological peculiarity or personal idiosyncrasy1 are unable to overcome certain special difficulties2 where1 indeed1 the effort would produce but meagre results4 ,but such instances are the exception1 not the rule4 ,the lyric artist who is gifted merely with a beautiful voice1 over which he has acquired but imperfect control1 is at the mercy of every slight indisposition that may temporarily affect the quality and sonority of his instrument4 ,but he who is a singer in the real and artistic sense of the word1 he who has acquired skill in the use of the voice1 is armed at all points against such accidents4 ,by his art1 by clever devices of varied tone-colour and degrees of intensity1 he can so screen the momentary loss of brilliance1 etc41 as to conceal that fact from his auditors1 who imagine him to be in the possession of his normal physical powers4 ,the technical or mechanical part of any art can be taught and learned1 as ,i have said4 ,it is only a case of well-guided effort4 ,patience and unceasing perseverance will in this1 as in all other matters1 achieve the desired result4 ,nature gives only the ability and aptitude to acquire2 it is persistent study which enables their possessor to arrive at perfection4 ,serious and lasting results are obtained only by constant practice4 ,it is a curious fact that many people more than usually gifted arrive only at mediocrity4 ,certain things1 such as the trill or scales1 come naturally easy to them4 ,this being the case1 they neglect to perfect their agilit1 which remains defective4 ,others1 although but moderately endowed1 have arrived at eminence by sheer persistence and rightly directed study4 ,it is simply a musical version of the ,hare and the ,tortoise4 99 99 99 99 99 ,but we must make a great distinction between the preliminary exercises which put the singer in full possession of the purely mechanical branch of his art 7,technique71 and the sthetic studies in ,taste and the research for what dramatic authors call the ,science of ,effect1 or ,style4 ,the former must be thoroughly accomplished1 otherwise the latter cannot be undertaken satisfactorily4 ,a good and reliable technique is undoubtedly of primary necessity4 ,but it is by no means all4 ,one may have a voice which is well-posed and of good resonance1 and also have sufficient flexibility to perform neatly all the rapid passages with which the pages of the classic composers abound4 ,but this is not singing2 nor is the possessor of these an artist4 ,he has simply the necessary and preliminary knowledge which should enable him to become one1 by further study of the sthetic side of the art of singing4 ,he has1 as it were1 collected the materials necessary for the erection of a splendid edifice1 and has now to learn the effective means of combining them4 ,so1 when the voice is formed1 a frank and easy emission obtained1 a sufficiency of ,technique acquired1 the next step in the singer's education is the practical study of the problem of ,style4 ,,chapter ,,iii ,,analysis ,,of ,,style ,what is ,style8 ,in reality the question is two-fold4 ,one may have ,style2 and one may have a style4 ,the former is general2 the latter individual4 ,the former can be taught and learned1 for it is based on certain well-defined rules2 the latter is personal--in other words1 is not universally applicable4 ,not infrequently it is a particular application of those rules which gives the impress of originality4 ,but correct taste must first be formed by the study of the noblest creations in the particular art that claims attention4 ,in singing1 as in the sister arts1 the laws which govern ,style must be apprehended and understood before ,individuality can be given full scope4 ,otherwise1 what to the executant would appear as original might1 to correct taste and judgment1 appear ridiculous and extravagant4 ,a genius is sometimes eccentric1 but eccentricity is not genius4 ,vocal students should hear as many good singers as possible1 but actually imitate none4 ,a skilled teacher will always discern and strive to develop the personality of the pupil1 will be on the alert to discover latent features of originality and character4 ,he will respect and encourage individuality1 rather than insist upon the servile imitation of some model--even though that model be himself4 ,as the distinguished artist ,victor ,maurel has justly observed3 ,of all the bad forms of teaching singing1 that by imitation is the worst 7,un ,problme d',art74 ,in singing1 as in painting1 a copy has never the value of the original4 ,moreover1 slavish imitation in any art has a deleterious influence4 ,but to respect irreproachable examples and fitly observe sound rules1 whose very survival often justifies their existence and testifies to their value1 is always of benefit to the artist4 ,to imitate is to renounce one's individual expression of an ideal and present that of another4 ,but to observe established and accepted laws1 laws founded on ,truth and consecrated by ,time1 is not to imitate1 when those laws are applied in an original and individual manner that is in harmony with the personality of the interpreter4 ,l'art est un coin de ,nature vu travers un temprament4 ,in literature1 each writer has his own special style which may easily be recognized2 but all follow the same grammatical rules4 ,a correct style in singing consists in the careful observance of the principles of ,technique2 a perfect ,diction2 the appropriate ,colouring of each sentiment expressed2 attention to the musical and poetic ,accents2 judicious and effective ,phrasing 7whether musical or verbal71 so that the meaning of both composer and poet may be placed in the clearest light4 99 99 99 99 99 ,let us analyze ,style in its three principal aspects3 ,colour1 ,accent1 and ,phrasing4 ,,colour ,of all the elements of ,style in singing1 the most potent and effective--the one1 indeed1 that is essential for the success of the lyric artist--is the ability to vary the vocal timbre2 that is1 to sing with ,colour4 ,this desideratum of varied tone-colour is sought even by instrumentalists4 ,nay1 the instrument itself is sometimes constructed with this object in view4 ,witness the invention of the soft pedal1 which is intended not solely to reduce the intensity of tone in the pianoforte--that may be accomplished by a modification of force in striking the note--but to give the tones a darker1 more sombre quality1 or colour4 ,to vary the tone-colour1 a violinist or 'cellist draws the bow across the strings close to1 or distant from1 the bridge1 in accordance with his desire for a reed-like or flute-like quality of tone4 ,anyone who has listened to the performance of the slow movement in ,paganini's ,concerto in ,d1 by an ,ysaye or a ,mischa ,elman1 will have remarked how the skilful use of varied tone colour and other devices imparts a wonderful charm to music intrinsically of but mediocre value4 ,a singer may have a good quality of voice2 but that is normal4 ,if he can vary it only in degrees of loudness 7,intensity7 and not in differences of timbre 7,colour7 he cannot be ranked as an artist4 ,no matter how great the natural beauty and sonority of his voice1 his performance will always be monotonous1 if he has only one tint on his vocal palette4 ,in speech--from which the effect is borrowed--utterances of grave and serious meaning1 and those of gayer import1 are not made with the same colour of voice4 ,a brighter quality 7voix claire7 is used instinctively for an ejaculation uttered by one to whom pleasant or joyful news has been communicated4 ,on the contrary1 should it be the cause of sorrow or grief for the listener1 he will use--should he have occasion to reply--a darker quality of voice 7voix sombre74 ,such phenomena are physiological4 ,the vocal organs are the most sensitive of any in the human economy3 they betray at once the mental condition of the individual4 ,joy is a great tonic1 and acts on the vocal cords and mucous membrane as does an astringent2 a brilliant and clear quality of voice is the result4 ,grief or ,fear1 on the other hand1 being depressing emotions1 lower the vitality1 and the debilitating influence communicates to the voice a dull and sombre character4 ,on this question of colour in the voice1 the masterly writer and critic ,legouv says3 ,certain particular gifts are necessary if the speech is to possess colour4 ,the first of these is ,metal in the voice4 ,he who has it not will never shine as a colourist4 ,the metal may be gold1 silver or brass2 each has its individual characteristic4 ,a golden voice is the most brilliant2 a silvery voice has the most charm2 a brassy voice the most power4 ,but one of the three characteristics is essential4 ,a voice without metallic ring is like teeth without enamel2 they may be sound and healthy1 but they are not brilliant4444 ,in speech there are several colours--a bright1 ringing quality2 one soft and veiled4 ,the bright1 strident hues of purple and gold in a picture may produce a masterpiece of gorgeous colouring2 so1 in a different manner1 may the harmonious juxtaposition of greys1 lilacs and browns on a canvas by ,veronese1 ,rubens1 or ,delacroix4 ,last of all is the velvety voice4 ,this is worthless if not allied with one of the three others4 ,in order that a velvety voice may possess value it must be reinforced 7double7 with 'metal4' ,a velvety voice is merely one of cotton4#a ,footnote #a3 ,these admirably expressed views illustrate and exemplify the principles ,i laid down in a confrence 7,paris1 #aijb7 on ,voice-,production 7,pose de la ,voix71 wherein ,i demonstrated the possibility of acquiring1 by the aid of the resonating cavities1 a greater sonority1 more in conformity with the demands and necessities of present-day music4 ,it may be of interest to notice that the quality which in ,france is designated timbre1 is called by the ,italians metallo di voce1 or1 metal of the voice4 ,those who heard ,madame ,sarah ,bernhardt fifteen or twenty years ago will readily understand why her countless friends and admirers always spoke of her matchless organ as la voix d'or4 ,the late ,sims ,reeves1 the famous tenor1 was a perfect master of all varieties and shades of vocal colour1 and displayed his mastery with certainty and unfailing effect in the different fields of ,oratorio and ,opera4 ,in the recitative ,deeper and deeper still1 with its subsequent aria ,waft her1 angels1 through the skies ,handel1 he ranged through the entire gamut of tone-colour4 ,as ,edgardo in ,donizetti's ,lucia di ,lammermoor1 he launched the ,maladetta phrase of the curse with a voice that was almost white with frenzied rage2 while the pathetic sombre quality he employed in the ,fra poco a me ricovero fitly accorded with the despairing mood and gloomy surroundings of the hapless ,edgardo4 ,some singers control but two colours or timbres--the very clear 7open7 and the very sombre 7closed71 which they exaggerate4 ,in reality1 however1 the gradations between them can be made infinite by the artist who is in possession of the secret--especially if he has the ability to combine ,colour with ,intensity4 ,an illustration of this is found in the example cited in the opening paragraph of the present work3--,for now is ,christ risen4 ,not only did ,mme4 ,tietjens make a gradual crescendo from the first note to the climax1 but the tonal colours were also subtly graduated from a comparatively sombre quality to one of the utmost clearness and brilliance4 ,music3 ,as sung by ,mme4 ,tietjens ,for now is ,christ risen1 for now is ,christ risen from the dead4 ,as contrasting examples in which the two principal colours may be employed effectively1 ,i may cite the ,bacchic air1 vin1 dissipe la tristesse1 and the pensive monologue1 tre1 ou ne pas tre1 both from the opera ,hamlet1 by ,ambroise ,thomas4 ,the forced1 unnatural quality of the first calls for the use of a clear1 open1 brilliant timbre4 ,music3 vin1 dissipe la tristesse ,qui pse sur mon coeur6 ,a moi les rves de l'ivresse1 ,et le rire moqueur6 ,but for the second1 ,to be1 or not to be3 ,music3 tre1 ou ne pas tre6 mystre6 ,mourir6 dormir1 dormir6 a sombre1 closed timbre is necessary4 ,the opening recitative of ,vanderdecken in ,der fliegende ,hollnder by ,wagner would be absurd1 and utterly out of harmony with the character and his surroundings1 if sung in the open timbre4 ,perhaps ,i ought to explain that open 7voix claire1 ,fr471 and closed 7voix sombre1 ,fr471 are technical terms1 of which the equivalents are accepted in all countries where the art of singing is cultivated2 terms that apply to quality of tone1 not to the physical process by which these effects are produced4 ,such a mistake is not infrequently made by vocal physiologists who are not practical musicians or singing-teachers4 ,nor must the term clear timbre be understood to mean the white voice 7voix blanche1 or voce bianca72 this1 like the guttural timbre1 being only occasionally employed for the expression of some violent passion1 such as hate4 ,like the admirable paintings of ,eugne ,carrire1 for instance his masterly portrait of ,paul ,verlaine1 a song1 sometimes an entire rle1 may be worked out in monochrome2 though the gradations of tint are numerous1 they are consistently kept within their preconceived colour-scheme4 ,some few exceptional singers1 like ,jean-,baptiste ,faure or ,maurice ,renaud1 have this gift of many shades of the one colour in their singing of certain rles4 ,the colour is determined by the psychological character of the personage portrayed2 a gay1 reckless ,don ,giovanni calls for a brighter colouring throughout than that necessitated by the music allotted to a gloomy ,vanderdecken or an embittered and vengeful ,rigoletto4 ,one may1 therefore1 formulate the following rule3 ,the general character of the composition will decide the tonal colour appropriate for its general interpretation2 the colouring necessary for its component phrases will be determined by the particular sentiment embodied in them4 ,emotions like sorrow1 fear1 despair1 will find fitting expression in the sombre quality of voice1 graduated in accordance with the intensity of the emotion4 ,the opposite sentiments of joy1 love1 courage1 hope1 are fittingly interpreted by gradations of the clear and brilliant timbre4 ,the dark or sombre voice will be used in varying shades for the recitative from ,samson 7,handel71 ,oh1 loss of sight3 ,music3 ,oh1 loss of sight1 of thee ,i most complain6 while the clearest and most brilliant timbre possible to be obtained is plainly indicated for the same composer's ,sound an alarm6 from ,judas ,maccabus4 ,music3 ,sound an alarm1 your silver trumpets sound6 ,it was a rule formulated by the old ,italian school of singing1 when l'arte del bel canto in its true sense did really exist1 that no phrase--musical or verbal--should be repeated with the same nuances4 ,very many instances might be given of the happy effect obtained by observing this rule4 ,one will suffice4 ,it is taken from the ,lamento of ,queen ,catherine 7of ,aragon71 who1 slighted by ,henry ,,viii4 for ,anne ,boleyn1 sighs for her native ,spain4 ,music3 ,lamento ,henri ,,viii3 ,act ,,iv ,saint-,sans ,mon ,espagne chrie6 ,mon ,espagne chrie6 ,sudden contrasts of colour are of great dramatic effect4 ,a good illustration is found in the air ,divinits du ,styx1 from ,gluck's ,alceste4 ,this contrast is still further heightened by a sudden change of both ,intensity and ,tempo4 ,music3 ,divinits du ,styx6 ,divinits du ,styx6 ,ministres de la mort6 ,this last phrase1 ,ministres de la mort6 should be sung in a very sombre voice of almost guttural character4 ,it is1 indeed1 in the recitatives and declamatory passages of ,gluck1 ,handel1 ,sacchini1 that lyric artists will find unsurpassable material for study4 ,requiring1 as such works do for their perfect interpretation1 all the resources of ,colour1 ,accent1 and ,phrasing1 such study is the best possible preparation for the fitting musical presentment of the lyric drama in some of its later phases4 ,colour1 then1 is the basic element of ,style in singing4 ,it is reinforced by ,accent1 which1 as the name implies1 is the accentuation of details that require to be brought into prominence4 ,this subject1 therefore1 next claims attention4 99 99 99 99 99 ,,accent ,in singing1 two kinds of accent are recognized1 the ,musical accent1 and the ,poetic1 or ,verbal1 accent4 ,the first appertains to the domain of sound2 the second1 to the domain of significance4 ,the first1 for sthetic reasons1 throws into relief certain tones of a musical phrase2 the second brings into prominence the sentiment underlying the poem or text4 ,note1 also1 that in spoken declamation1 accent applies to a syllable only2 in singing1 the verbal accent affects an entire word4 ,in its relation to ,style1 the ,musical accent must be carefully distinguished from the ,metrical accent which is determined by ,time1 or ,measure1 as well as from the ,verbal accent whereby the import of a word is rendered clear to the listener4 ,here is an example of ,musical accent1 from ,act ,,iii of ,verdi's ,ballo in ,maschera3 ,music3 ,saper vorreste di che si veste quando l' cosa ch'ei vuol nascosa4 ,the accents 7marked thus accent symbol7 give to the musical phrase a piquancy that is admirably in keeping with the gay and careless character of the page1 ,oscar1 who sings it4 ,in fact1 as regards ,style1 ,musical accent is particularly valuable in song for the purpose of setting forth the true character of the music4 ,hence1 it may be regarded as a means of characterization4 ,this use of accent for characterization is also quite distinct from its use with accidentals1 or tones foreign to the prevailing tonality4 ,in the former case1 sentiment dictates its employment2 in the second1 the accent guarantees1 as it were1 the accuracy of the singer's intonation4 ,by the faint stress laid on the foreign tone1 the listener is assured that the executant is not deviating from the true pitch4 ,in the following examples1 the tones marked accent symbol are accidentals1 and for that reason should receive a faint stress4 ,the first example is from ,la ,forza del ,destino4 ,music3 ,verdi ,madre1 ,madre1 pietosa ,vergine1 perdona al mio peccato1 m'aita quell'ingrato ,music3 ,je dis que rien ,carmen3 ,act ,,iii ,bizet ,vous me protgerez1 ,seigneur6 ,these different uses of accent are well illustrated in the following example4 ,music3 ,come unto ,him ,messiah ,handel ,take ,his yoke upon you1 and learn of ,him4 ,the tone allotted to the second syllable of the word upon is accentuated to affirm the accuracy of the singer's intonation2 the slight emphasis of the word ,him brings into relief the meaning of the text4 ,this latter1 then1 is an illustration of ,verbal1 or ,poetic accent which1 ,i repeat1 throws into relief1 without consideration of its musical value or position1 some word of special significance in the verbal phrase4 ,to render the poetic meaning of the text clear to the listener1 a correct use of verbal accent is imperative4 ,its importance and effect1 particularly in recitative and declamatory singing1 are analogous to the importance and effect of emphasis in spoken language4 ,the example is from ,samson 7,handel73 ,music3 ,o loss of sight1 of thee ,i most complain4 ,here ,i may point out that in cantabile phrases the stream of sound1 notwithstanding its division into syllables by the organs of articulation--lips1 tongue1 etc4--should pour forth smoothly and uninterruptedly4 ,the full value of each tone must be allotted to the vowel2 the consonants which precede or end the syllables are pronounced quickly and distinctly4 ,in declamatory singing1 on the contrary1 the consonants should be articulated with greater deliberation and intensity4 ,music3 ,handel 7,messiah7 ,i know that my ,redeemer liveth4 ,here an emphatic accent on the consonant n irresistibly suggests the idea of knowledge2 that is1 of absolute certainty1 not of mere belief4 ,very frequently the metrical accent does not coincide with the syllabic accent3 the musical accent will fall on an unaccented syllable1 or vice versa4 ,particularly is this the case when the composer is not perfectly familiar with the rules that govern the prosody of the language to which he is setting music4 ,in the operas of ,meyerbeer many passages occur in which it is necessary to readjust the syllables to the notes on account of their misplaced accent4 ,here is an illustration from ,hol's ,grand ,air in ,le ,pardon de ,plormel 7,meyerbeer71 ,act ,,ii4 7,note that the tonic accent in ,french falls always on the last pronounced syllable47 ,music3 7as printed7 ,et ranimez1 ranimez ma foi4 ,the error is easily remedied3 ,music3 7should be sung7 ,et ranimez1 ranimez ma foi4 ,in the contralto aria ,he shall feed ,his flock1 in ,handel's ,messiah1 the unaccented word shall falls on the most strongly accented note of the bar4 ,if performed thus1 it would give a most aggressive character to the passage1 implying that some one had previously denied the assertion4 ,this would be entirely at variance with the consolatory and peaceful message that is contained in the text and shadowed forth in the music4 ,music3 7as printed7 ,he shall feed his flock like a shepherd4 7should be sung7 ,he shall feed his flock like a shepherd4 ,instances of faulty syllabic accent abound in ,handel's works1 both his ,english oratorios and his ,italian operas4 ,many examples could be quoted4 ,here is a phrase from the beautiful air for mezzo-soprano sung by ,ruggiero in the opera of ,alcina4 ,music3 7as printed7 ,verdi prati4 7should be sung7 ,verdi prati4 ,in ,mendelssohn's ,elijah1 the following phrase is nearly always sung as written1 unless the singer is familiar with the best traditions3 ,music3 ,give me thy son6 ,it may be that the artists who slavishly follow the published text fear being accused of altering the composer's music1 or are ignorant of the fact that there exists a better version1 which is this3 ,music3 ,give me thy son6 ,it will be seen that the music is not changed in the least2 the musical and verbal accents have been merely readjusted and made to coincide4 ,in order to avoid the disagreeable effect of singing one half-bar andante to the syllable si 7pronounced like zee in ,english71 the following phrase of ,marguerite de ,valois in ,les ,huguenots 7,meyerbeer71 ,act ,,ii1 is changed thus3 ,music3 7as printed7 en aucun temps n'et choisi mieux4 7should be sung7 en aucun temps n'et choisi mieux4 99 99 99 99 99 ,,intensity ,in musical terminology every gradation of volume in sound1 from the faintest to the loudest1 enters into the category of ,intensity4 ,one of the accepted rules of the arte del bel canto was1 that every sustained tone should be coloured by some graduation of intensity4 ,thus the ability to augment and diminish the volume of tone was so highly esteemed--indeed1 so essential--that singers spent much time in acquiring the messa di voce1 that is1 the steadily graduated emission of tone from the softest degree to the loudest and again to the softest3 p crescendo symbol f decrescendo symbol p4 ,this exercise invariably formed a part of each day's study1 and was practised on several vowels throughout the scale1 except the extreme tones1 save in rare instances4 ,it was1 in fact1 indispensable that the singer should be able to colour every tone in three forms of graduated intensity3 ,soft to loud p crescendo symbol f2 loud to soft f decrescendo symbol p2 and soft to loud and soft again p crescendo symbol f decrescendo symbol p4 ,this command of intensity1 therefore1 is invaluable4 ,but it is even more effective when the artist has the power to combine the various gradations of ,intensity with different shades of ,colour2 in other words1 when he can sing a tone crescendo and diminuendo in the clear and sombre timbres4 ,the passage1 already cited1 from ,alceste's great air in ,gluck's opera ,alceste1 furnishes an admirable illustration of the dramatic emotion created by a sudden contrast of ,intensity as well as ,colour4 ,in the invocation ,ye ministers that dwell in night6 the clear timbre is used with gradually increasing volume until at the phrase 7sung adagio7 ,ministers of death6 the timbre changes abruptly to a sombre quality with sinister effect1 which effect is augmented by being sung pp4 ,music3 ,gluck 7,alceste3 ,act ,i7 ,divinits du ,styx6 ,divinits du ,styx6 ,ministres de la mort6 ,a still more striking example of the impressive effect produced by sudden contrasts of intensity is offered in the magnificent air ,total ,eclipse1 from ,samson 7,handel74 ,in it1 a judicious use of tone-colour1 accent1 and variations of tempo1 all combine to elucidate in the highest possible degree the idea of both composer and poet3 ,music3 ,sun1 moon and stars1 sun1 moon and stars are dark to me4 ,the words ,sun1 moon and stars should be given strongly accentuated1 and the tempo gradually accelerated4 ,the repetition of the phrase should be sung with still greater intensity2 then1 at the passage are dark to me1 the colour of the voice changes to one of very sombre quality1 and the original tempo is resumed4 ,the first consonant in the word dark should receive a slight stress4 ,the crescendo has always been a favourite device of composers1 particularly of those who write for the lyric theatre4 ,it was an effect held in high esteem by ,rossini1 who introduced it constantly in his operas--witness his overtures and ensembles4 ,all are familiar with the wonderful crescendo which precedes the appearance of the ,knight of the ,swan1 in ,lohengrin1 where the sonorities are augmented by gradual additions of voices and instruments until the culminating point is reached4 ,an instance more poignant still is found in the great ,liebestod in ,tristan und ,isolde4 ,although ,hrold1 the ,french composer1 observed that in working up to a climax one should begin a long way off1 a singer must be careful not to reach his maximum of vocal sonority before the musical climax is attained4 ,the tenor ,duprez created a sensation that is historic1 in the long crescendo passage in the fourth act of ,guillaume ,tell1 by gradually increasing the volume of sound1 as the phrase developed in power and grandeur1 until the end1 which he delivered with all the wealth of his exceptionally resonant voice4 ,before closing this chapter on ,intensity1 ,i should advise singers whose voices possess great natural volume or power not to abuse this valuable quality by employing it too frequently4 ,the ear of a listener tires sooner of extreme sonority than of any other effect4 ,talma1 the great actor1 wrought many reforms on the ,french dramatic stage1 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 verse4 ,against the custom1 then prevalent1 of always hurling forth long tirades at full voice1 he inveighed in these terms3 ,of all monotonous things1 uproar is the most intolerable 7de toutes les monotonies1 celle de la force est la plus insupportable74 ,an artistic singer will use his most powerful tones1 as a painter employs his most vivid colours1 sparingly4 99 99 99 99 99 ,,phrasing ,phrasing is simply musical punctuation4 ,in singing1 it may be separated1 like accent1 into two divisions3 ,musical and ,poetic1 or ,verbal1 phrasing4 ,if the following passage were performed by an instrument1 it would not require any particular grouping or phrasing3 ,music ,but when sung1 it would fail in effect if not performed with a very slight pause after the word nobis1 thus3 ,music3 ,ave ,maria ,luzzi ,ora pro nobis1 ,maria4 ,as another illustration of the excellent effect of correct phrasing may be cited the song ,psych1 by ,paladilhe4 ,its effect is heightened if the musical phrasing be judiciously combined with a change in ,colour and ,intensity3 ,music3 ,quand il les flatte1 j'en murmure6 7,should be sung73 ,music3 ,quand il les flatte1 j'en murmure6 ,it is the clashing of the ,musical and ,verbal phrasings that often makes translations of lyric works unsatisfactory4 ,the two phrases are independent1 not welded together4 ,so far from being ,music wedded to immortal ,verse1 these instances resemble those mnages wherein each unit leads a separate existence4 ,when this is the case1 the singer must decide as to whether the musical phrase1 or the poetic phrase1 demands the greater prominence4 ,the following ,phrasing and ,colouring would be good and effective if the passage were played on an instrument3 ,music ,but if sung thus1 as it sometimes is by careless artists who pay little attention to the verbal significance of what they are singing1 it would sound absurd1 because the poetic phrasing is entirely ignored4 ,the correct way of performing the passage 7from the aria ,voi che sapete1 in ,act ,,ii of ,mozart's ,nozze di ,figaro7 is the following3 ,music3 ,donne1 vedete1 s'io l'ho nel cor4 ,in the next extract 7from ,act ,,iv in ,un ,ballo in ,maschera1 by ,verdi71 it will be noticed how oblivious the composer was of the claims of verbal phrasing4 ,the whole scena is admirably written for the voice1 and contains many graceful passages of great melodic charm4 ,but although the music may claim to represent the character of the situation as a whole1 it is disfigured by the complete disregard of the sense of certain groups of words3 ,music3 ,come se fosse l'ultima ora del nostro amor1 come se fosse l'ultima1 l'ultima ora1 ora del nostro amor1 del nostro amor8 ,oh1 qual presagio m'assale1 come se fosse l'ultima ora del nostro amor1 se fosse l'ultima del nostro amor ,the words come se fosse l'ultima ora del nostro amor1 constitute one phrase4 ,it would be extremely difficult1 impossible even1 for many1 to sing the passage in one breath4 ,but the first musical phrase ends after the word ultima2 to separate it from the next word1 ora 7second and third bars71 thus3 last--hour1 is impracticable4 ,it would be out of the question to destroy the musical phrase by breathing after the word ora1 in the third bar4 ,if the text is phrased when spoken as it is when sung1 the incongruity is at once apparent4 ,the published score gives a pause fermata symbol after the word ora3 ultima ora fermata symbol del nostro amor4 ,this phrasing is good and effective1 especially if the artist changes at once to the sombre quality after the pause1 and finishes the phrase piano and rallentando4 ,one very often hears it1 however1 given with a pause for breathing after the high a2 the unfortunate singer having prolonged the tone until1 in order to continue1 he is compelled to take in more air4 ,the result is the absurd phrasing given below3 ,music3 l'ultima ora del nostro amor ,in the final cadenza1 the composer has cut out the word ora altogether4 ,the whole air is of interest to the musical student1 as it shows clearly the little value attached by ,verdi1 at that period of his career1 to the exigencies of the verbal or poetic phrase4 ,this neglect of the verbal punctuation is in marked contrast to the care he bestowed on it in his later works1 witness ,aida1 ,otello1 and particularly ,falstaff4 ,here ,i may say that it is sometimes necessary to alter the words on account of the impossibility of performing certain passages as written4 ,in the earlier published scores of ,samson et ,dalila 7,saint-,sans71 the following passage in ,act ,,ii1 ,mon coeur s'ouvre ta voix1 as the composer wrote it1 occurs as one phrase3 ,music3 ,ah6 rponds ma tendresse6 ,this being impracticable of execution in one phrase1 and there being no opportunity of retaking breath until the close of the passage1 it was altered in the later editions1 and now stands thus3 ,music3 ,ah6 rponds1 rponds ma tendresse6 ,this device of repetition1 applied either to a word or to part of a phrase1 is perfectly justifiable in cases where the artist1 for physical reasons1 is unable to sing the phrase in one breath4 ,i give an excerpt from ,weber's ,der ,freischtz 7,grand ,air1 ,act ,,ii73 ,music3 ,oh lovely night6 ,this may be sung3 ,music3 ,oh lovely1 lovely night6 ,the concluding bars of the waltz-song in ,act ,i of ,gounod's ,romo et ,juliette1 are often phrased as indicated in the brackets1 in order to give the singer a chance to take breath1 which is done after the c natural3 ,music3 ,ah6 7comme un trsor47 comme un trsor4 ,as discrepancies between the musical and verbal phrases1 such as those ,i have instanced1 abound in certain of the old operas which still keep the stage and form a part of the permanent rpertoire of every lyric theatre1 the artists singing them are compelled to choose between sacrificing the words or the music4 ,the former alternative is generally preferable1 the musical phrase in many such cases being of the greater relative importance4 ,another way is1 to meet the difficulty boldly by supplying another text which mates itself more happily with the musical phrase4 ,personally1 ,i adopt the latter alternative without hesitation1 when preparing artists to sing these works4 99 99 99 99 99 ,some minor effects utilized in ,style in singing may be briefly alluded to3 ,portamento2 variations of ,tempo4 ,,portamento ,this is effected by the voice gliding from one tone to another1 and is equally available on stringed instruments1 the violin or 'cello1 the mandoline or zither4 ,it is a grace of style much abused by inartistic singers4 ,being an ornament1 good taste dictates that it be used sparingly4 ,a frequent sliding from one tone to another is a grave fault1 and most disagreeable to a cultivated ear4 ,to sing legato is one thing2 to sing strisciato is another4 ,hence1 its use on two consecutive occasions is rarely admissible4 ,but without a sober and discreet use of the portamento1 the style of the singer appears stiff1 angular--lacking1 as it were1 in graceful curves4 ,it must always be performed by carrying the tone and syllable to the next tone2 never by anticipating the latter3 ,music3 ,mozart 7,nozze di ,figaro7 ,do ,fa ,deh vieni1 non tardar1 ,but it sometimes happens that1 while desiring this grace1 the composer does not indicate his wish quite correctly4 ,here is an instance by ,f4 ,thom3 ,music3 ,et nous dansions un bolro4 ,were it performed as printed1 it would be very bad style1 as it violates the rule that the succeeding syllable shall not be anticipated4 ,undoubtedly1 what the author wished is the following3 ,music3 ,et nous dansions ,sometimes the composer himself indicates clearly his intention that this effect should be used1 as in the following examples3 ,music3 ,reyer 7,la ,statue7 ,pour s'vanouir1 au rveil4 ,music3 ,celeste ,aida 7,aida3 ,act ,i7 ,verdi ,del mio pensiero tu sei regina1 tu di mia vita sei lo splendor4 ,music3 ,song ,heure du ,soir for ,tenor ,lo ,delibes ,partout s'lve un chant bien doux1 un chant bien doux1 ,sous la brise toute embaume4 ,music3 ,from ,la ,bohme1 ,act ,i ,puccini ,mi chiamano ,mimi1 ma il mio nome ,lucia4 7,notice the phrases marked a and b47 ,the words and indications for the use of the portamento in each of these last four examples are by the respective composers1 and as printed in the published editions4 ,a portamento should never be sung so slowly as to convey the idea of a badly executed chromatic scale2 and1 as a rule1 it is best not to use one between any lesser interval than a third1 unless for some particular effect1 or at the close of a slow movement1 as in the aria ,he was despisd1 in ,the ,messiah3 ,music3 and acquainted with grief4 ,it is also effective in connecting syllables in phrases of a smooth1 lyric character3 ,music3 ,nozze di ,figaro3 ,act ,,ii ,mozart 7as printed7 in braccio al idol mio4 7should be sung7 in braccio al idol mio4 ,the portamento being an embellishment that pertains to the cantabile1 it is very little used in declamatory singing4 ,but frequently in the ,recitatives of classic works occur phrases of declamatory recitative1 interspersed with passages that are purely lyric in structure4 ,to each of these divisions must be given its appropriate style4 ,for instance1 after the opening phrases of ,obadiah's exhortation1 ,ye people1 rend your hearts1 in ,elijah1 up to the end of the phrase ,return to ,god1 all is purely lyric declamation4 ,but at the words1 ,for ,he is slow to anger1 and merciful1 this should cease1 and the succeeding phrases be given with all the graces that are permissible in cantabile singing2 not in the hard1 dry manner affected by some of the modern tenors in oratorio4 ,music3 ,i therefore say to ye1 ,forsake your idols1 return to ,god2 for ,he is slow to anger1 and merciful4 99 99 99 99 99 ,,variations ,,of ,,tempo ,these are of value in bringing out the musical and poetic significance of certain compositions2 notably the operas of ,bellini1 ,donizetti1 and the earlier works of ,verdi4 ,but ,i would caution singers to exercise discretion in this much-abused effect4 ,variations of ,tempo1 the ritardando1 accelerando1 and tempo rubato1 are all legitimate aids demanded by ,expression4 ,but unless their use is determined by sound judgment and correct musicianly taste1 the effect speedily becomes vulgar and monotonous4 ,knowledge1 and a taste formed in good schools1 must be the guide of the vocalist in the use of variations of tempo4 ,i have said that the operas of ,bellini1 ,donizetti and ,verdi abound in instances requiring the hastening or slackening of the tempo4 ,but the device is also highly esteemed by the ultra-modern ,italian school1 as may be seen in studying the scores of ,puccini1 ,mascagni and ,leoncavallo4 ,here is an illustration of its effective use in the air ,connais-tu le pays8 from ,mignon 7,act ,,ii71 by ,ambroise ,thomas4 ,madame ,christine ,nilsson 7,countess ,casa ,miranda71 who passed the rle with the composer1 always sang the phrase thus1 although these indications do not appear in the published version3 ,music3 ,hlas6 que ne puis-je te suivre1 vers ce rivage heureux1 d'o le sort m'exila6 ,again1 in the fine song ,der ,asra1 by ,rubinstein1 the musical1 as well as the dramatic1 effect of the poem is heightened by the use of the accelerando1 which interprets with musical vividness the impetuous avowal by the slave of his passion for the princess1 after his calm answer to her questions as to his name and birthplace4 ,ich heisse ,mahomet1 ich bin aus ,yemen1 und mein ,stamm sind jene ,asra1 welche sterben1 wenn sie lieben4 7,,heine47 ,music3 und mein ,stamm sind jene ,asra1 welche sterben1 wenn sie lieben4 ,,chapter ,,iv ,,tradition ,tradition plays a more important part1 perhaps1 in the interpretation of the classic composers' writings for the voice than it does in their purely instrumental works4 ,the old masters left few--sometimes not any--indications as to the manner in which their music should be rendered4 ,thus its proper performance is largely determined by received oral tradition4 ,the printed scores of the classics1 except those that have been specially edited1 throw little light on their proper interpretation1 or even at times on the actual notes to be sung4 ,to perform exactly as written the operas of ,gluck1 notably ,armide and ,orphe1 the operas of ,mozart1 the ,italian operas and ,english oratorios of ,handel1 the oratorios of ,bach1 ,haydn1 and ,mendelssohn1 would be to do the greatest injustice to these composers and their works4 ,it is a prevalent idea that all departures from the published text are due either to caprice1 or to vanity and a desire for personal display on the part of the soloist4 ,as though singers had a monopoly of these defects6 ,let us consider some of the principal causes of such changes in the text1 and the reasons why these modifications do not always appear in the published versions4 ,in the original editions of many of the earlier operas1 as those of ,mozart1 etc41 the unaccompanied recitative 7recitativo secco7 is not barred4 ,as with the plain-chant of the church1 only the pitch of the tone is indicated4 ,its length was left to the discretion of the artist1 who was supposed to be familiar with the accepted style of delivery termed recitativo parlante4 ,the example is from the recitative ,dove sono1 in ,act ,,iii of ,le ,nozze di ,figaro1 by ,mozart3 ,music3 ,e ,susanna non vien6 ,sono ansiosa di saper ,this should be sung as below3 ,music3 ,e ,susanna non vien6 ,sono ansiosa di saper ,the substitution of another note for the one actually written1 both in ,recitative and ,aria1 was also strictly regulated under the system or convention then in vogue1 one perfectly understood both by composer and singer4 ,in all the earlier ,italian operas1 and in the ,english oratorios of ,handel1 this system was followed3 ,music3 ,recit4 ,behold1 a ,virgin shall conceive ,messiah ,handel 7sung7 ,emmanuel2 7printed7 and shall call his name ,emmanuel2 ,music3 ,aria4 ,i know that my ,redeemer liveth ,messiah ,handel 7sung7 liveth 7printed7 ,i know that my ,redeemer liveth ,music3 ,recit4 ,non pi di fiori ,la ,clemenza di ,tito ,mozart 7sung7 ,vitellia6 costanza 7printed7 ,ecco il punto1 o ,vitellia6 d'esaminar la tua costanza ,music3 ,in questa tomba ,beethoven 7sung7 oscura 7printed7 ,in questa tomba oscura ,this substitution1 therefore1 of another note--a tone or semitone higher or lower1 according to the phrase--is not only legitimate but essential in all music written in the ,italian manner4 ,another cause of changes being necessary in the vocal part of many of the older classic writers1 particularly of oratorio1 is the frequently faulty syllabic accentuation4 ,i have already mentioned this defect in the chapter on ,accent4 ,handel1 for instance1 although living nearly all his life in ,england1 never became quite master of its language2 hence the numerous cases of the misplacing of syllables in his oratorios4 ,this defect is also noticeable1 but not in the same degree1 in his ,italian operas4 ,the books of ,elijah and ,st4 ,paul 7,mendelssohn71 and ,the ,creation 7,haydn71 were originally written in ,german1 and therefore suffer somewhat in this respect when the translated ,english version is given4 ,this fault is also noticeable in the ,english versions of ,bach's ,passion 7,st4 ,matthew71 and ,mendelssohn's ,psalm ,,cxiv4 ,in the first quoted of these two works1 in the response for ,double ,chorus to the question1 ,whether of the twain will ye that ,i release unto you8 the accent falls on the first syllable ,ba-rab-bas2 in the second of the two works 7#aadth ,psalm71 the accent is placed on the last syllable1 thus3 ,hal-le-lu-jah4 ,neither of these accentuations is in accordance with ,english custom4 ,a singer1 therefore1 is perfectly justified in rearranging the syllables in order that1 as far as possible1 the musical and verbal accents shall coincide4 ,but there are rigorists1 unaware of the usages and conventions previously spoken of1 who are very severe in their judgment when any deviation is made from the printed score with which they follow the performance of classic works4 ,such severity is unmerited1 because unjust4 ,although such persons sometimes inveigh against any and every change from the strict letter of the printed music--ignorant of the possibility1 that only in this way can its spirit be respected--the changes in a multitude of cases are essential because due 7#a7 to reverential deciphering of an obsolete musical notation1 7#b7 to improvements in musical instruments1 or 7#c7 to the sanction and authority of the composer himself4 ,sometimes it is an orchestral conductor who reproaches the solo singers with their want of respect for the composer1 because he hears at times interpolations or changes which find no place in his own score4 ,the singers are accused of altering the composer1 of taking liberties with the text4 ,and yet these very changes may be traditionally correct2 they may be in accordance with rules and conditions prevalent at the time the music was written1 and employed on account of a desire to interpret the composer's own intentions1 and not from mere vanity or caprice4 ,nor are these necessary changes and departures from the printed scores of the classics confined to the vocal parts of the music composed by the old masters4 ,as a matter of fact1 the deviations which1 in performance1 are sometimes made from the printed edition of a musical composition1 arise from a variety of causes4 ,one of these is the discrepancy that exists between various editions of the same work2 and sometimes the confusion is complicated by different versions having been prepared by the composer himself4 ,this is notably the case with ,gluck's ,orphe1 first written to an ,italian libretto by ,calzabigi and produced at ,vienna4 ,when ,marie ,antoinette called her former ,viennese singing-master1 ,gluck1 to ,paris1 she gave him an opportunity of displaying his genius by facilitating the production of his ,iphignie en ,aulide at the ,opra1 in #aggd4 ,its enthusiastic reception recalled to the composer the like success which had attended the production of his ,orfeo at ,vienna4 ,he immediately set to work to revise it for the ,paris ,opra1 and fit it to a new ,french text1 the latter supplied him by ,moline4#b ,footnote #b3 ,sir ,george ,grove1 in the ,dictionary of ,music and ,musicians1 ,p4 #faa1 says that the ,french text is by ,molire6 ,this is a self-evident error4 ,but the title-rle in the original ,italian version was written for1 and sung by1 ,guadagni1 an artificial contralto 7contralto musico74 ,in its newer ,french dress the part was transposed and rearranged for the tenor ,legros2 who1 judging from the extreme altitude of the tessitura employed1 must have possessed either a haute-contre1 or a very high light-tenor voice1 and who may have employed the falsetto4 ,this high tessitura1 combined with the fact that the pitch has risen considerably since it was composed1 renders the ,french version impracticable for tenors of the present day4 ,here are the concluding bars of the famous air as written in the original ,italian version1 and the same phrase as altered by ,gluck1 when produced in ,paris4 ,music3 ,che far senz' ,euridice8 ,dove andr8 ,che far8 ,dove andr senza il mio ben8 7,as originally written by ,gluck for the ,italian version1 ,vienna47 ,music3 ,j'ai perdu mon ,eurydice ,sort cruel1 quelle rigueur6 ,je succombe ma douleur1 ma douleur1 ma douleur6 7,as altered by ,gluck for ,paris2 sung by the tenor ,legros4 ,from a manuscript copy1 ,bibliothque de l',opra47 ,music3 ,j'ai perdu mon ,eurydice ,sort cruel1 quelle rigueur6 ,je succombe ma douleur1 ma douleur1 ma douleur6 7,as sung by ,mme4 ,viardot-,garcia1 ,thtre-,lyrique1 ,paris2 the part being restored to the original voice and key1 but the change at the end1 made for ,legros1 retained47 ,the finale to the first act was also changed2 a tumultuous hurry for strings1 evidently designed to accompany the change of scene to ,hades1 being now replaced by a florid air1 probably introduced at the desire of the principal singer as a medium for the display of his vocal virtuosity2 a concession often exacted from composers of opera4 ,this interpolated air was for a long time attributed to a composer--,bertoni--who had himself composed an opera on the subject of ,orphe4 ,later researches have1 however1 proved that this air is by ,gluck himself1 taken from ,aristeo1 one of his earlier works4 ,when the famous revival of ,orphe took place at the old ,thtre-,lyrique in ,paris1 the rle of ,orphe was restored to the type of voice--contralto--for which it was originally composed1 and confided to ,mme4 ,pauline ,viardot-,garcia4 ,she retained the air introduced for the tenor ,legros1 but of course transposed1 and with a reorchestration by ,camille ,saint-,sans2 the now famous composer having at that time1 by the request of ,berlioz1 undertaken to continue and complete the revision of ,gluck's complete works1 known as the ,pelletan ,edition4#c ,footnote #c3 ,see very interesting article signed ,c4 ,saint-,sans in the cho de ,paris for ,july #bc1 #aiaa4 ,other changes from the first ,italian score were also made by ,gluck in the later ,french version4 ,here is an example2 being the recitative immediately preceding the great air of ,orpheus in the last act3 ,music3 7,original ,italian version1 as written for ,vienna47 ,misero me6 la perdo1 e di nuovo1 e per sempre6 ,o legge6 ,o morte6 ,o ricordo crudel6 ,non ho soccorso1 non m'avanza consiglio6 ,io veggo solo 7,oh fiera vista67 il luttuoso aspetto dell'orrido mio stato6 ,saziati1 sorte rea6 son disperato6 ,music3 ,c'est moi1 c'est moi1 qui lui ravis le jour4 ,loi fatale6 ,cruel remords6 ,ma peine est sans gale1 ,dans ce moment funeste1 ,le dsespoir1 la mort1 ,c'est tout ce qui me reste6 7,as written for the ,paris version1 the rle of ,orphe being then sung by a tenor47 ,music3 ,c'est moi1 c'est moi1 qui lui ravis le jour4 ,loi fatale6 ,cruel remords6 ,ma peine est sans gale1 ,dans ce moment funeste1 ,le dsespoir1 la mort1 ,c'est tout ce qui me reste6 7,as sung by ,mme4 ,viardot-,garcia1 the rle being then restored to the contralto voice as in the ,italian version1 while the changes made by ,gluck for the ,paris version were retained4 ,this is now definitively adopted at the ,opra-,comique47 ,again1 discrepancies exist between various published copies of the same work1 arising from the fact that sometimes the editors of these revisions may have mistaken the intentions of the composer4 ,or1 influenced by pardonable human vanity1 they may have felt impelled to collaborate more directly with the composer1 by adding something of their own4 ,there is valid reason for the additional accompaniments1 with which ,mozart has enriched the original scores of ,handel's ,messiah and ,alexander's ,feast2 and we have evidence of the skill1 and can divine the reverence1 with which these additions were accomplished4 ,but how fatal would have been the results1 had the delicate task been attempted by one in whom these qualities were lacking6 ,also1 there is every excuse for the additions made to ,gluck's ,armide by ,meyerbeer for the ,opera of ,berlin2 and we have the direct testimony of ,saint-,sans1 who has examined this rescoring1 as to the rare ability and artistic discretion with which the work has been done4#d ,footnote #d3 ,see cho de ,paris1 op4 cit4 ,from this evidence it appears that in the score as left by ,gluck1 the trombones do not appear at all in ,armide4 ,the drums1 and stranger still1 the flutes1 are heard only at rare intervals2 while the whole orchestration--sometimes a pale sketch of the composer's intentions--shows a haste and lack of care in marked contrast with the pains bestowed on the scoring of ,alceste1 ,iphignie1 and ,orphe4 ,the revisions and additions spoken of were undertaken by highly competent authorities1 actuated only by the wish to restore in its purity the idea of the composer2 and who to zeal1 added the more valuable quality of discretion4 ,ancient music1 owing to the development of and changes in the instruments for which it was composed1 can rarely be given as written by the author4 ,even if the instruments of modern invention be eliminated1 the orchestra of to-day is not the orchestra of ,handel4 ,the oboe1 for example1 has so gained in penetrating power that one instrument to each part now suffices2 in ,handel's time the feeble tone of the oboe rendered a considerable number necessary4 ,the perfection of certain instruments1 too1 is the cause of modifications in the music written for them4 ,the limited compass of the pianoforte1 for example1 was certainly the sole reason why ,beethoven failed to continue in octaves the entire ascending scale in one of his sonatas4 ,had the piano in his day possessed its present compass1 he would undoubtedly have written the passage throughout in octaves1 i4e41 as modern pianists play it4 ,if a rigid adherence to the printed letter of ancient music is to be strictly observed1 without consideration of the many causes that render this procedure undesirable1 let consistency be observed by pushing the argument to its logical conclusion1 viz41 returning to the instruments used1 and the composition of the orchestra that obtained1 when these works were written4 ,those who accuse artists of introducing changes1 of not performing the music as the composer wrote it1 should be quite sure as to what the composer really did write1 since many changes are made both before and after the work is printed4 ,they should also be certain that these changes are not such as the composer may have1 or would have1 sanctioned1 seeing that by their use his meaning is more clearly expressed4 ,at the ,concerts ,spirituels1 given at the ,church of the ,sorbonne1 ,paris1 may be heard very excellent performances of ,oratorio by ancient and modern composers1 from ,handel and ,bach to ,claude ,debussy2 though ,i do not know whether or no l',enfant prodigue 7,the ,prodigal ,son71 by ,debussy1 is properly styled an oratorio1 seeing that it was recently given in ,london on the stage as an opera4 ,these performances at the ,sorbonne are marked by a reverential attention to detail2 the soloists1 chorus and orchestra being very competent1 and the conductor--,m4 ,paul de ,saunires--a musician of ability and experience4 ,in spite of these great advantages1 however1 the works of several of the old classic composers suffer somewhat1 by certain authentic traditions and conventions being either unknown or ignored4 ,to cite only one instance out of many3 ,at the ,sorbonne1 the opening bars of the second movement of the ,recit4 in ,the ,messiah1 ,comfort ye my people1 etc41 are performed as printed3 ,music3 ,the voice of him that crieth in the wilderness ,this music is written in the ,italian manner1 consequently its performance should be in conformity with the usages and conventions which obtained when the work was composed4 ,one of these1 as ,i have pointed out1 was the substitution of one note for another in certain places2 another1 that in declamatory recitative1 or recitativo parlante1 the chord in the orchestra should come after the voice 7dopo la parola74 ,these words appear in many scores of the ,italian operas1 even of the present day4 ,but when they do not1 the musical director is supposed to be familiar with the custom4 ,the following1 therefore1 is the authentic mode of performing the passage in question3 ,music3 ,the voice of him that crieth in the wilderness ,apart from these defects in the rendering of the ancient classics1 it would be unjust not to acknowledge the great artistic merit and value of the performances1 given--as ,oratorio should be--in the church4 ,to hear l',enfance du ,christ 7,berlioz7 as performed at the ,sorbonne1 with its particular facilities for obtaining the ppp effects of the distant or receding angelic chorus1 is to be impressed to a degree impossible of attainment in the concert-room4 ,let those purists who resent any tampering--as they term it--with the composers' music listen to the following phrase1 sung as it is printed in the ordinary editions3 ,music3 the first-fruits of them that sleep4 ,then let them hear it given according to the authentic and accepted tradition1 and say which of the two versions most faithfully interprets the composer's meaning4 ,music3 the first-fruits of them that sleep4 99 99 99 99 99 ,let us now consider alterations which do not appear in the printed editions1 and yet may have been made or sanctioned by the composer4 ,in comparison with painting and sculpture1 music and the literature of the theatre are not self-sufficing arts4 ,they require an interpreter4 ,before a dramatic work can exist completely1 scenery1 and actors to give it voice and gesture1 are necessary2 before music can be anything more than hieroglyphics1 the signs must be transmuted into sound by singers or instrumentalists4 ,wagner embodied this truth in his pathetic reference to ,lohengrin3 ,when ill1 miserable and despairing1 ,i sat brooding over my fate1 my eye fell on the score of my ,lohengrin1 which ,i had totally forgotten4 ,suddenly ,i felt something like compassion lest the music might never sound from off the death-pale paper4 ,in other words1 ,lohengrin1 though finished in every detail1 was merely potential music4 ,to make it anything more1 the aid of singers and orchestra are essential4 ,composers and dramatic authors1 in fact1 create their art-works2 but it is their interpreters--actors1 singers1 instrumentalists--who animate them1 who breathe life into them4 ,one of the inevitable consequences is1 that the composer's ideal can never be fully attained4 ,but changes in performance from the printed text of a composition are frequently the work of the composer himself4 ,if really an artist1 he is rarely perfectly satisfied with his completed work4 ,the difference between his ideal and his materialization of it1 is a source of anguish for him4 ,the journey made by a vision of art from the brain that conceives it to the hand that imprisons it in marble1 or depicts it in colour1 or pens it in words or music1 is a long one4 ,and much grace or power1 beauty or grandeur1 is inevitably lost on the way4 ,this is the explanation of the disappointment of all true artists with their creations4 ,this is the origin of their endless strivings to perfect their works2 the first embodiment is not a perfect interpretation of the artist's inspiration1 and further reflection has revealed to him an improvement4 ,the process is endless4 ,a man's reach should exceed his grasp1 ,or what is ,heaven for8 ,if one wishes to surprise genius labouring to give birth to perfection1 one should consult the later editions of ,victor ,hugo's works and note the countless emendations he made after their first publication--here a more fitting word substituted1 there a line recast1 elsewhere an entire verse added1 or excised1 or remodelled4 ,this work of incessant revision is not restricted to poets4 ,composers of genius are also inveterate strivers after perfection1 are continually occupied in polishing and revising their music4 ,and not all the modifications they make1 or sanction1 are recorded in the printed versions4 ,for many are the outcome of after-thoughts1 of ideas suggested during the process of what ,i have called transmuting musical hieroglyphics into sound4 ,such modifications1 usually decided upon in the course of a rehearsal--,i am now considering particularly operatic works--are frequently jotted down1 a mere scanty memorandum1 on the singer's part or the conductor's score4 ,but they are the work of the composer1 or have received his approval1 and1 although not noted in the printed editions of his compositions1 are transmitted orally from conductor to conductor1 singer to singer1 master to pupil4 ,and thus a tradition is perpetuated4 ,but the question of changes goes even further4 ,prior to the advent of ,wagner1 the singer was allowed great license in operatic works4 ,this license was principally manifested in a two-fold form4 ,the first is called pointage 7,french71 puntatura 7,italian71 and means the changing of the notes or contour of a musical phrase2 the second is termed changements or variantes 7,fr471 abbellimenti or fioriture 7,it471 and refers to the interpolation and addition of ornaments1 i4e41 embellishments and cadenzas4 99 99 99 99 99 ,,pointage ,this1 as ,i have said1 is the technical term given to the modification or rearrangement of the notes of a phrase1 so as to bring it within the natural capabilities of the artist singing the rle4 ,a few illustrations will make the nature of pointage clear4 ,in ,rossini's ,guillaume ,tell1 although it is written in a different style from his former works1 whence less necessity for interpolations and modifications1 occurs the following terrible passage for the principal baritone3 ,music3 ,mais je connais le poids des fers1 mais je connais le poids des fers4 ,every vocalist knows the difficulty experienced in singing very high tones to different syllables1 each requiring a different conformation of the buccal cavity4 ,the passage quoted--expressing ,tell's bitterness at the recollection of his past sufferings in prison1 ,well ,i know the weight of galling chain--has to be declaimed with great energy4 ,so far as the relative value of the notes is concerned1 it is entirely ad libitum1 the rhythmical figure in the orchestra having ceased one half-bar before4 ,it is said that ,dabadie1 a basso cantante rather than baritone1 to whom was entrusted the rle of ,tell on the first production of the work at the ,opra1 ,paris1 on ,august #c1 #ahbi1 finding it impossible to sing the phrase as written1 had recourse to a professor4 ,he advised the pointage given later4 ,this change became traditional1 and has since been followed1 except1 it is said1 in the case of ,massol1 who succeeded ,dabadie4 ,he1 being possessed of a very sonorous voice of exceptional compass1 was able to give the phrase as written4 ,this change1 or pointage1 must have been heard by ,rossini1 and so must have been tacitly approved by him4 ,this is the change made by ,dabadie3 ,music3 ,mais je connais le poids des fers1 mais je connais le poids des fers4 ,in ,italian lyric theatres1 pointage becomes necessary in many ,french operas1 owing to the prevalent custom of allotting to contraltos certain rles written for soprano and known as dugazon rles 7from ,madame ,dugazon1 who created the type74 ,the parts of ,siebel in ,faust 7,gounod71 ,urbain in ,les ,huguenots1 ,stphane in ,romo et ,juliette 7,gounod71 are all written for soprano1 and when sung in ,italian require not only transposition of the principal airs1 but the use of pointage in passages where transposition is impossible owing1 for instance1 to the participation of other characters in the scene4 ,thus the air sung by the page ,urbain 7,les ,huguenots7 on his entrance is sung in the ,french theatres as written by ,meyerbeer1 i4e41 in ,b flat4 ,in theatres where the ,italian version is given1 this air is transposed a third lower into ,g1 necessitating later numerous pointages1 for the reason already given4 ,i said that many deviations from the printed text are the work of the author1 or are authorized by him4 ,a moment's reflection will convince one of the truth of this statement4 ,the singer chosen--usually by the composer himself--to create a rle1 i4e41 to interpret for the first time some part in a new opera1 generally studies it with the composer1 or under his direct supervision1 and thus learns1 directly or indirectly1 his ideas as to the meaning1 style of execution1 tempi1 etc41 of the music4 ,very often during rehearsals1 when the composer begins really to hear his own work1 he makes modifications in certain passages1 alterations of the words or suppressions of the notes that are either ineffective1 or lie awkwardly for the voice4 ,but the opera has already been printed for the convenience of the singers and choristers studying the rles and choruses2 consequently1 such modifications1 rearrangements1 and cuts 7as excisions are termed71 do not find their way into the published scores4 ,meyerbeer1 as ,i have been informed by competent authorities1 was constantly modifying his compositions4 ,with him1 the work of revision and emendation was never finished4 ,it is said that this was more especially the case with his last opera1 l',africaine1 which he was continually altering and revising1 never being able to satisfy himself4 ,two versions of the libretto were prepared for him by ,scribe1 and two distinct settings of the music are published1 although only one is performed4#e ,footnote #e3 ,cases are numerous of changes made by composers even after their work has been produced4 ,the ,fountain ,scene in ,lucia was entirely remodelled by ,donizetti1 some time after its original production at ,milan1 the first setting being replaced by the ,regnava nel silenzio now used1 written for ,persiani when the opera was first given at the ,san ,carlo1 ,naples4 ,in ,nelusko's first air occurs the following passage1 in which a great crescendo is marked1 culminating ff on the word rien3 ,music3 non1 n'tent rien ta majest6 ,although the opera was produced after the composer's death1 ,jean-,baptiste ,faure1 the great baritone chosen to create the rle of ,nelusko1 studied it with ,meyerbeer1 who authorized several verbal and musical changes in it4 ,music3 non1 n'tent rien1 non1 non1 non1 n'tent rien ta majest6 ,without the first alteration it is impossible to realize the composer's wish for a climax on the word rien2 the second change is due to the fact that the tessitura of the phrase is somewhat high1 and ,faure1 who was a low rather than high baritone1 dreaded the high f-sharp4 ,indeed1 it was for this latter reason that this most accomplished singer never sang in ,verdi's operas4 ,according to his own statement1 he had to deny himself this pleasure1 because most of the baritone parts in the ,italian composer's operas are written in a high tessitura4 ,when ,gounod wrote his ,faust for the ,thtre-,lyrique1 ,paris1 spoken dialogue was used in place of the recitatives subsequently added by the composer when the work passed1 ten years later1 into the rpertoire of the ,opra4 ,in its earlier form1 therefore1 it belonged to the category of opra-comique1 in which tenors were then permitted to use the falsetto voice for their very highest tones4 ,this custom1 though sanctioned in opra-comique1 was not permitted or accepted in grand opra1 to which ,gounod's work in the revised form now belongs4 ,at the beginning of the sixth bar from the end of the tenor cavatina in the ,garden ,scene3 ,salut6 demeure chaste et pure1 occurs the high sustained c4 ,not all tenors who sing the rle are possessed of the much-coveted do di petto1 so a discreet pointage becomes a necessity1 since the tone was originally intended1 as ,i have said1 to be sung in falsetto4 ,those robust tenors who1 possessing this tone1 launch it out at full voice1 unheeding the delicate accompaniment with violin obbligato in the orchestra1 and the calm1 mystic serenity of the surroundings1 are surely more desirous of drawing the attention of the public to themselves1 than actuated by an artistic desire to interpret faithfully the scene as intended by composer and librettist4 ,it was owing to the use by light tenors of the so-called falsetto voice1 now no longer in favor with the public1 that such of the opras-comiques by ,boildieu1 ,halvy1 ,auber1 etc41 which still keep the stage1 necessitate frequent pointage1 in order to render their execution compatible with existing requirements4 ,sometimes a composer utilizes an exceptional voice1 as was the case with the rles written for ,martin4 ,this singer must have possessed either a strong tenor voice with exceptional low tones1 or a baritone voice with perhaps an unusual command of the falsetto--history furnishes but vague information on this point4 ,in any case1 the rles written for him--called ,martin-tenor or ,martin-baritone parts--are now assigned to the ordinary baritone4 ,pointage then becomes inevitable1 as in the case of ,hrold's ,zampa1 the compass required as printed being from ,music ,in the rles1 such as ,mignon 7,thomas7 and ,carmen 7,bizet71 written for ,madame ,galli-,mari1 their respective composers themselves have so arranged the parts that they may be sung by either mezzo-soprano or soprano4 ,the rle of ,mignon has alternatives1 in order that it may be sung by three types of female voices4 ,the roulades and cadenzas were subsequently added by the composer for ,madame ,christine ,nilsson4 ,if the rle is sung by a high soprano1 ,mignon's first air1 ,connais-tu le pays1 is transposed a tone higher into ,e flat4 ,in the famous duet between ,raol and ,valentine in the fourth act of ,les ,huguenots1 the composer has given alternative notes for those tenors who do not possess the exceptional altitude required for the higher of the two3 ,music3 ,ah6 viens6 ah6 viens6 ah6 viens6 or viens6 ah6 viens6 ,i heard recently1 however1 a performance of this opera1 in which the tenor sang the whole of the music as written1 without either transposition or pointage4 ,so it was sung1 ,i should imagine1 by the famous ,adolphe ,nourrit1 who created the rle2 but the pitch at that time 7#ahcf7 was lower than it is at present4 ,thus composers have recognized the necessity at times of pointage in certain rles written for exceptionally gifted singers1 in order to render possible to the many that which was originally written for the few4 ,changes from the published version have also been made--and proving effective have passed into tradition--by singers who1 exercising the liberty then accorded them by composers1 have slightly modified certain passages for several reasons3 for instance1 to augment the effect by making the phrase more characteristic of the vocal instrument1 or to express more forcibly the composer's idea4 ,the following illustrations will render my meaning clearer4 ,the changes originated in the causes ,i have mentioned1 and are attributed to ,madame ,dorus-,gras3 ,music3 ,robert1 toi que j'aime tu vois mon effroi6 tu vois mon effroi6 change -froi6 ,ah6 ,grce1 grce pour moi-mme1 pour toi-mme4 ,the phrase ,grce1 grce1 in which ,isabelle implores ,robert of ,normandy's forgiveness1 occurs three times4 ,when it recurs for the last time1 a change from the printed text is not only justifiable2 it is demanded1 in order to give additional intensity and power to the phrase1 and to avoid the monotony caused by mere repetition4 ,this modification is all the more defensible1 as the composer has substituted the orchestra1 with the strings tremolo1 for the rhythmical harp-figure with which he accompanies the phrase on its first and second presentations4 ,here is the accepted traditional change3 ,music3 ,grce1 grce pour moi-mme1 pour toi-mme4 ,again1 to sing the final cadenza of this air as ,meyerbeer briefly indicated it1 would be impossible and absurd3 ,music3 7as printed7 ah6 grce pour moi4 7as sung7 ah6 grce1 ah6 grce pour moi4 ,other changes have their origin in the fact that sometimes a great climax is rendered impossible of realization because the musical phrase culminates on a vowel-sound difficult of emission on that note1 and devoid of sonority2 another word has sometimes to be substituted4 ,for this reason1 in the first air of ,alice in the same opera 7,robert71 ,va1 dit-elle1 a verbal rearrangement is always resorted to3 ,music3 ,sa mre va prier pour lui1 sa mre va prier pour lui1 sa mre va prier pour lui1 va prier ,to avoid the disagreeable and ineffective result produced by the high descending passage on the word lui 7pronounced in ,english as lwee71 the last few bars are performed thus3 ,music3 sa mre va prier1 sa mre va prier ,when ,la ,tosca 7,puccini7 was produced in ,french at the ,opra-,comique1 ,paris1 the unfortunate artist to whom was allotted the tenor rle was expected by the translator to sing at full voice1 and after a crashing chord from the entire orchestra1 marked ffff in the score1 the following words3 ,music3 au pril de ma vie ,as it was found to be out of the question to produce the effect desired with the words as they stood1 the phrase was afterwards changed to3 ,music3 pour combattre l'infme ,frequently modifications1 most happy in their effect1 are due to the inspiration of a particularly gifted artist4 ,madame ,viardot-,garcia1 finding the phrase of the cabaletta in the aria ,se ,romeo t'uccise 7,romeo e ,giulietta1 ,bellini7 somewhat weak and ineffective1 made the skilful pointage here given3 ,music3 7as printed7 ,ma su voi ricada il sangue 7as sung by ,mme4 ,viardot-,garcia7 ,ma su voi ricada il sangue ,a great artist may feel at times the inadequacy of the phrase as it stands to convey justly the composer's idea4 ,take1 for instance1 the well-known change which every soprano who sings the rle of ,leonora introduces in the ,miserere scene of ,il ,trovatore4 ,the passage occurs four times in succession1 and as printed becomes commonplace and monotonous4 ,music3 ,di te1 di te scordarmi6 di te1 di te scordarmi6 ,the accepted traditional change certainly conveys the impression of ,leonora's gradually increasing anguish and terror2 not the idea that it is introduced merely to exploit a high tone3 ,music3 ,di te1 di te scordarmi6 di te1 di te scordarmi6 ,that this departure from the text must have been sanctioned by ,verdi1 is1 ,i think1 proved by the fact that it has always been sung thus1 and the composer himself must often have heard the substitution4 ,he would certainly have forbidden its use1 had he not approved of it1 for he was particularly averse to having changes made in his music4 ,the following anecdote illustrates this trait in his character4 ,it was related by the late ,mme4 ,marie ,saxe1 better known under her ,italianized name of ,marie ,sasse4 ,this distinguished soprano singer1 a member of the ,paris ,opra for a number of years1 was engaged to give a certain number of performances at the ,opera of ,cairo4 ,aida was one of the operas stipulated for in her contract4 ,she had never sung the rle1 and in studying it found the tessitura of the music1 at one or two points1 a little too high for her natural means4 ,as she was compelled by her contract to sing the opera1 she asked ,verdi to make some slight changes to bring the music within her reach4 ,but he refused absolutely to make the least alteration4 ,madame ,saxe was specially selected by ,meyerbeer to create the rle of ,slika in l',africaine4 ,she studied the part for three months with the composer1 and sang it when the work was first given at the ,paris ,opra4 ,she was also chosen by ,richard ,wagner for the part of ,elisabeth when ,tannhuser was given its stormy performances1 with ,niemann in the title-rle1 at the same theatre in #ahfa4 ,madame ,saxe possessed a score of ,tannhuser with the inscription in the composer's handwriting3 ,a ma courageuse amie ,mademoiselle ,marie ,saxe4 ,l',auteur ,,richard ,,wagner4 ,the slight modifications1 or pointages1 asked from ,verdi1 were not1 ,i was assured by ,madame ,saxe1 of a character to alter either the rle or the opera1 and she remarked 7,i quote her own words73 ,why should ,verdi have shown himself more unreasonable or less yielding than ,meyerbeer or ,wagner8 7plus intransigeant1 plus intraitable que ,meyerbeer ou ,wagner874 99 99 99 99 99 ,in tradition1 however1 there is the true or accepted tradition--so called because believed to have been sanctioned by the composer himself1 or approved of by competent authorities and its use warranted by time--and the false4 ,this latter is simply an accumulation of excrescences superimposed on the original by individual whim or personal fancy4 ,these have been invented by singers desirous of bringing into relief certain special and peculiar gifts1 or who have mistaken1 perhaps forgotten1 the original and authentic tradition4 ,thus their artistic heritage has become so altered and disfigured by successive additions1 or machicotage1 as to bear no resemblance to the original1 this being buried under a heap of useless complications4 ,but it may be asked1 are there no authoritatively correct printed editions of such classics with the accepted traditions and the proper mode of their performance expressed in modern musical notation8 ,yes3 but they are incomplete1 being for the most part confined to airs and other excerpts1 instead of the complete works themselves4 ,in this connection1 ,i may cite the admirable edition of the ,gloires d',italie by the late erudite musician and authority1 ,gevaert1 for so many years ,director of the ,conservatoire at ,brussels4 ,these editions are characterized by a scrupulous fidelity to the composers' text as it was understood when written1 as well as by great taste and musical sense of what is appropriate and fitting1 in such ornaments as the editor has introduced1 when these have been left to the discretion of the singer4 ,the solo parts for the principal singers in ,mozart's operas of ,don ,giovanni and ,le ,nozze di ,figaro1 edited and revised for performance by the well-known singing-master and excellent musician1 ,signor ,randegger1 are also admirable4 ,but other editions exist which do not bear the same imprint of authority1 or conscientious care in their revision1 as do the versions just mentioned4 ,in the edition of the well-known air ,j'ai perdu mon ,eurydice 7che far senza ,euridice87 from ,orphe 7,gluck71 revised by ,madame ,pauline ,viardot-,garcia1 no mention is made of two traditions which have been used and handed down by a number of the most famous singers of the rle of ,orphe4 ,i give them here3 ,music3 7as printed7 dchire mon coeur4 ,j'ai perdu mon ,eurydice 7,traditional changes7 ,ah6 dchire mon coeur4 ,j'ai perdu mon ,eurydice ,the change on the third repetition of the principal theme is quite in accordance with the license then accorded in such airs4 ,in a special version of the opera ,armide 7,gluck71 revised and edited by the late ,sir ,charles ,hall1 the first bars of the great air of ,armide in the first scene of the fourth act1 ,ah6 si la libert 7,ah6 if my liberty must from me then be taken71 are printed thus3 ,music3 ,ah6 si la libert ,the situation is where ,armide perceives the knight ,renaud in the gardens of her enchanted palace1 whither he has come to destroy the sorceress on account of her magic arts4 ,although the enchantress knows that the mission of the knight is to deprive her of liberty1 she herself succumbs to the fatal passion of love4 ,i have briefly described the scene in order that my meaning may be clear4 ,in the second half of the first bar1 the acciaccatura was never intended by the composer to be actually sung as printed4 ,it was his only way of indicating the sob or sigh whereby ,armide finishes her exclamation1 ,ah6 ,the effect is called the ,dramatic sob1 and is known to every opera-singer4 ,here is the composer's meaning1 as far as it is possible to convey it in writing3 ,music3 ,ah6 si la libert 7,a portamento must be made from the first note to the next1 when the breath must be taken quickly to give the idea of a sob or sigh47 ,again1 in a recent edition of the same air by the distinguished composer ,vincent d',indy 7,nouvelle dition ,franaise de ,musique ,classique71 occurs the following3 ,music3 tu rgnes dans mon coeur6 ,the effect of the ,f sharp in the last bar1 if sung against the harmony given1 in which the preceding chord is resolved1 would be intolerable4 ,surely1 the composer intended a pronounced rallentando on the latter half of the bar1 and a carrying of the voice by a portamento to the last note4 ,thus3 ,music3 tu rgnes dans mon coeur6 ,in the edition of the immortal air in the opera of ,xerxes1 universally known as the ,largo of ,handel1 also revised and edited by d',indy1 may be noticed the following3 ,music3 ,non v'oltraggino mai la cara pace1 ne giunga a profanarvi austro rapace6 ,of course1 every operatic conductor knows that the chord in the orchestra must be played after the voice1 as the technical phrase has it4 ,but not every pianist or organist is familiar with this usage1 and the effect would be very disagreeable if given as written4 ,it should be performed thus3 ,music3 ,non v'oltraggino mai la cara pace1 ne giunga a profanarvi austro rapace6 ,besides1 why claim that a certain edition is revised and edited1 when all the care and musical knowledge seem to have been expended on the harmonies only8 ,surely1 the voice-part in these classics is not without its need of elucidation4 ,an edition of ,the ,messiah1 revised for performance1 can scarcely be called accurate when such defects as the following occur3 ,and fermata symbol over they they ---- breath symbol were sore afraid4 ,the following is the authentic mode of performing the phrase3 ,and fermata symbol over dash ---- breath symbol slur symbol and sombre over the following words they were sore afraid4 ,in the same edition for the solo singers occurs3 7,behold and see73 ,music3 ,if there be any sorrow like unto ,his sorrow4 ,but by a slight syllabic rearrangement1 the disagreeable accent on the last syllable of un-to is avoided1 and the accent placed on the word ,his1 to which it belongs1 while the composer's music remains untouched4 ,music3 like unto ,his sorrow4 ,again1 in the same air occurs3 ,music3 7as printed7 like unto ,his sorrow4 7should be sung7 like unto ,his sorrow4 ,while recognizing the benefits conferred by some of these specially prepared editions1 there remains still more to be accomplished in this direction before the work is complete4 ,a flood of light has been thrown on the dark and nebulous places of the instrumental classics by various distinguished and highly competent musicians4 ,it is sincerely to be hoped1 in the interests of this branch of the sthetics of vocal art1 that those competent to speak with authority will do so1 in order that in this direction also the crooked shall be made straight1 and the rough places plain4 ,i admit that this question of revising the composer's written text is an exceedingly delicate and difficult one4 ,it should be attempted only by those possessed of the requisite authority1 those who combine tact and taste with judgment and experience4 ,to these qualities should be added a sincere and reverential desire to place in the highest relief the meaning of both poet and composer4 99 99 99 99 99 ,i have said that the license formerly accorded by composers to singers--particularly operatic singers--manifested itself in a twofold form4 ,the second of these phases was the introduction in the body of a theme or melody1 and also at its close1 of embellishments4 ,sometimes the composer briefly sketched these ornaments2 at other times their places only were indicated4 ,the ornaments in the body of an air are known as abbellimenti or fioriture2 those at its close1 as cadenze4 ,here is an example of the former1 taken from the duet in ,elisa e ,claudio by ,mercadante3 ,music3 ,se un istante all'offerta d'un soglio vacillasse il mio genio primiero4 ,the following is the same passage ornamented3 ,music3 ,se un istante all'offerta d'un soglio vacillasse il mio genio primiero 7,as sung by ,mme4 ,malibran4 ,quoted from ,mcanisme des ,traits1 by de ,la ,madelaine1 #ahfh47 ,the rle of ,rosina in ,rossini's ,il ,barbiere has long been a favourite peg with prime donne on which to hang interpolated ornaments for the display of their vocal agility4 ,some of these are not always in good taste1 being trivial or banal in character1 thus concealing the natural charm of the original melody under a species of ,henri ,herz variations4 ,others1 however1 such as those used by the ,patti and the ,sembrich1 for instance1 are of great originality and excellent effect4 ,here are some of the traditional ornaments and cadenzas sung by certain famous singers of the past in ,rosina's entrance cavatina3 ,una voce poco fa4 ,this air was originally written by ,rossini in ,e major1 the part of ,rosina being intended for a mezzo-soprano1 and was thus sung by the late ,paulina ,viardot-,garcia4 ,this exceptionally gifted artist1 possessing a voice of very great compass1 was enabled to sing not only the rles assigned to mezzo-soprano contraltos1 such as ,orphe1 or ,fids 7,le ,prophte71 which she created1 but also the parts given to dramatic sopranos4 ,mme4 ,viardot was thus able1 with some slight modifications1 to sing ,norma1 ,desdemona 7,otello3 ,rossini71 ,rachel 7,la ,juive71 etc4 ,the rle of ,rosina has now definitely passed into the possession of florid or coloratura sopranos2 much1 therefore1 of the music is of necessity transposed1 the air in question being now sung one half-tone higher1 in the key of ,f4 ,here is a change used by ,mme4 ,cinti-,damoreau1 who sang the music in the original key4 ,the composer wrote3 ,music3 ,si ,lindoro mio sar4 ,mme4 ,cinti-,damoreau sang thus3 ,music3 ,si ,lindoro mio sar4 ,in the same bar ,mlle4 ,henrietta ,sontag1 who sang the air a semitone higher1 introduced the following3 ,music3 ,si ,lindoro mio sar4 ,rossini wrote no cadenza to the air3 ,music3 lo vincer6 ,cadenza of ,mlle4 ,sontag3 ,music3 ,ah6 ah6 ah6 lo vincer6 ,i have already spoken of the bad taste exhibited by some mediocre singers in covering a coloratura air with so many roulades1 etc41 as to render it barely recognizable4 ,it was after hearing one of his own arias overloaded and disfigured in this manner that ,rossini1 who was noted for his biting wit and stinging sarcasms1 is said to have remarked3 ,what charming music6 ,whom is it by8 ,bellini1 ,donizetti1 and composers of their school1 sometimes did little more than hand over to the singer engaged to create their works a rough sketch1 as it were1 which the artists were supposed to fill in and perfect4 ,singers were expected to add such fioriture1 or flowers1 as would best display their salient points of style and individual characteristics4 ,the ,cavatina1 or slow movement of the aria1 was the medium which called for the qualities of expressive singing1 while the ,cabaletta was a vehicle for the display of virtuosity and technical mastery4 ,in this latter movement1 the equivalent of the ,rondo in instrumental music1 the performer was left perfectly free to use such embellishments as set forth his own gifts to the greatest advantage4 ,some singers excelled in bold and rapid flights of scales1 chromatic and diatonic2 others1 in the neat and clean-cut execution of involved traits or figures4 ,it must be remembered1 that the great singers of the past were perfectly competent to add these ornaments themselves1 as they possessed a complete and sound musical education4 ,more3 sometimes these singers even collaborated with the composers4 ,crescentini1 the last famous male sopranist1 is reputed by history or legend--the two are not infrequently synonymous--to have been himself the composer of the well-known aria ,ombra adorata1 introduced by him in ,zingarelli's opera ,romeo e ,giulietta1 as also of the prayer sung by ,romeo in the same work4 ,his singing of it is said to have moved his audience to tears1 and gained for him the decoration of the ,iron ,crown1 conferred upon him by ,napoleon ,i4 ,the ,emperor also induced him1 by the offer of a large salary1 to settle in ,paris as professor of singing4 ,when these great artists--their career as public singers being ended--began in turn to form pupils1 they were admirably fitted for the task of imparting instruction1 being excellent musicians1 and1 as ,i have said1 composers of no insignificant merit4 ,they had a sound theoretical knowledge1 compared with which that of many of our modern singers seems but a pale and feeble reflection4 ,the collaboration of composer and interpreter is not altogether unknown in the domain of instrumental music4 ,is it not historical that ,mendelssohn profited largely from the wise counsels of the celebrated violinist ,ferdinand ,david in the composition of his concerto for violin and orchestra8 ,this does not mean that ,david contributed any musical phrases or ideas to the work2 but that his practical knowledge of the special characteristics and capabilities of the solo instrument enabled him to suggest how the composer's thoughts might be most fittingly presented4 ,returning to the question of the introduction of ornaments1 etc41 into a composer's work1 the following extract may be of interest to the musical student4 ,it is from a volume of criticism1 now out of print1 a copy of which is possessed by the present writer4 ,the article appeared in ,la ,patrie more than forty years ago1 and was called forth by the ornaments written by the then well-known singer and teacher of great ability1 ,stphan de ,la ,madelaine4 ,these changes were for the great air of ,agathe in the second act of ,der ,freischtz1 and were the cause of much discussion among the music-critics of the time4 ,following the example of celebrated vocal virtuosi whom he had formerly known1 and availing himself of the license then permitted1 the master 7de ,la ,madelaine7 has introduced several alterations 7changements74 ,these1 however1 in no sense clash with the original character of the air itself4 ,that the introduction of such ornaments has caused an outcry1 is not surprising4 ,we should remember1 however1 that the ,freischtz was written at a period when1 in certain places1 the composer left the field entirely open to the singer1 permitted him to make such changes as he might deem necessary4 ,it must not be thought that in so doing the interpreter corrects the composer3 he simply seeks to express1 to the utmost of his abilities1 the intention of the author4 ,the operas of ,bellini1 of ,rossini1 and1 in general1 of all the ,italian masters1 are full of these intentional gaps 7lacunes7 which were filled in by the singers4 ,nay1 in the earliest days of the ,neapolitan school1 still greater liberty was allowed2 the recitatives were all improvised by the executants1 and were not even noted down4 ,each singer made his own1 which the maestro al cembalo accompanied with a few simple chords4 ,in the cavatina in ,norma1 each cantatrice introduces her own changes on the recurrence of the principal theme1 and the public applauds4 ,why then this outcry against the same procedure in ,der ,freischtz8 ,that this custom or practice might lead to great abuse and that it is necessary to uproot it gradually1 is our opinion4 ,but this radical reform can be realized only in forthcoming works2 those of the ancient school ought to be interpreted by following the conventions which the composer himself has respected4 ,that the changements written by ,m4 de ,la ,madelaine for the air of the ,freischtz are permissible1 is proved by the fact that ,weber himself has sanctioned and approved them1 as1 if need be1 a great number of contemporaries can attest4 7,,franck-,,marie47 ,whoever has had the good fortune to hear ,mme4 ,marcella ,sembrich in the rle of ,amina1 in ,bellini's ,la ,sonnambula1 will have heard an excellent example of remarkable technical skill or virtuosity1 with irreproachable taste regulating its display4 ,the ornaments and changes used by her in the rondo finale1 ,ah1 non giunge1 are models of their genre4 ,what else could be expected of an artist so gifted as to be able to perform the lesson-scene in ,rossini's ,il ,barbiere 7introducing therein the air with variations by ,proch7 in ,italian2 and in the course of the same scene sing1 in ,german1 ,ich liebe dich1 by ,grieg1 and play the ,andante and ,rondo ,russe1 for violin1 by de ,briot1 and a valse by ,chopin on the piano8 ,the opera1 ,la ,sonnambula1 requires much rearrangement both of the music and of the verbal text1 to which it is badly fitted4 ,the greater part of the music written for ,elvino has to be transposed1 mostly a third lower1 in order to make it practicable under existing conditions4 ,no effect whatever could be made were a cantatrice to follow implicitly the written notes of this opera1 such being merely a rough sketch1 as it were1 of the composer's ideas1 which the singer is supposed to complete4 ,several instances from the andante ,ah6 non credea mirarti1 will suffice to prove this4 ,the following is the printed version4 ,music3 ,ah non credea mirarti1 ,s presto estinto1 o fiore4 ,this is but a suggestion of the composer's idea4 ,the artist will therefore not follow too closely the printed version2 but following the evident indications for a pathetic and expressive cantabile will perform it thus3 ,music3 ,ah6 non credea mirarti1 ,s presto estinto1 o fiore4 ,again a brief outline1 as printed3 ,music3 ,passasti al par d'amore1 che un giorno1 che un giorno sol dur4 which1 if sung as follows1 fills in the details3 ,music3 ,passasti al par d'amore1 che un giorno1 che un giorno sol dur4 ,also the passage in the same aria1 where ,amina sobs as she slowly lets fall to the ground the blossoms given her in the first act by ,elvino1 requires an entire rearrangement of the syllables to bring out the composer's meaning4 ,music3 ,che un giorno sol dur1 ,passasti al par d'amor1 d'amor4 ,let any one go over this passage carefully1 and he will be convinced that it is1 as ,i have said1 merely a sketch of the composer's idea4 ,as it stands in the published version it is impossible of execution1 and if it were possible1 would be devoid of all effect3 the syllables being wrongly placed1 no opportunity for breathing is given the singer1 and the final cadenza is marred by being allotted to the word amore4 ,here is a revision of the latter1 the cadenza being one ,i wrote for a pupil1 ,mme4 ,easton-,maclennan1 of the ,royal ,opera1 ,berlin3 ,music3 ,che un giorno sol dur1 ,passasti al par d'amor1 ah6 d'amor4 ,it will thus be seen1 from the numerous foregoing examples1 that these ornaments and interpolations are not added from a vulgar idea of correcting or improving the composer's music1 but are strictly in accordance with certain conventions thoroughly understood by both composer and singer4 ,to omit them1 or follow too closely the printed text1 would be to ignore the epoch1 school and character of the music2 a careful study of which forms one of the cornerstones of ,interpretation4 ,a skilled artist will always strive to analyze and interpret the intentions of the author4 ,if one to whom is confided the vocal part of a composer's work were to limit himself to a mathematically correct reproduction of the written notes only1 instead of searching below the surface for the author's meaning1 his performance would merely resemble the accurate execution of a solfeggio by a conscientious scholar4 ,it would have the same relation to high artistic effort as the photographic reproduction of a landscape bears to the same scene as viewed and transmitted to canvas by a great painter4 ,the sincere artist will carefully consider every detail4 ,he will not be content to study his own part only1 but will study the orchestral score which accompanies it4 ,he will1 in fact1 follow the example set by good string-quartet players1 who listen attentively to the other instruments during rehearsals1 so that the perfect welding together of the different parts may form a homogeneous whole4 ,such an artist1 in complete possession of the mechanical resources of his art1 will utilize them all to embody perfectly that which1 with the composer1 existed only as a mental concept1 inadequately transcribed1 owing to the limitations of his media--pen1 ink and paper4 ,and it is only when in possession of the authentic traditions of ,oratorio and ,opera that the singer1 such as ,i have supposed1 will be able to vivify these great creations1 will be able to invest them with warmth and colour1 and thus make clear all their meaning1 reveal all their beauty4 ,,chapter ,v ,r,,pertoire ,although rpertoire forms no integral part of ,style1 being rather the medium for its practical application1 a few words on this important subject may not be out of place4 ,the rpertoire necessary for a singer may be divided into two sections1 ,opera and ,concert4 ,the latter includes ,oratorio and ,cantata4 ,in spoken ,drama1 a performer may begin his career by playing the youthful lovers1 and end it by impersonating the heavy fathers4 ,he may first sigh as ,romeo1 and later storm as ,capulet4 ,not so in ,opera1 or lyric ,drama1 where the line of work to be followed is determined at the outset by the type of voice possessed by the aspirant1 and which line 7or emploi1 as it is termed7 he follows of necessity to the end of his professional career4 ,i know there are some few instances of artists who1 later1 have successfully adopted rles demanding another range than the one needed for their earlier efforts4 ,but it is an open question whether the performer's instrument really changed4 ,it must either have been wrongly classified at one of the two periods1 or the vocal keyboard--so to speak--transposed a little higher or lower4 ,the character of the instrument remains the same2 a viola strung as a violin would still retain its viola quality of tone4 ,the case is different where a soprano who may have begun by singing the florid rles of opera1 has so gained in volume of voice and breadth of style as to warrant her devoting these acquisitions to characters requiring more dramatic force than was needed1 or could be utilized1 in coloratura rles4 ,mlle4 ,emma ,calv1 ,mesdames ,lilli ,lehmann and ,nordica1 are notable examples of this4 ,each of these distinguished artists began her career by singing what are known as ,princess rles1 before successfully portraying ,carmen or the ,brnnhildes4 ,as a rule1 it is by singing many different rles that the lyric artist gains the skill and sureness that may ultimately render him famous in a few4 ,mlle4 ,grandjean1 now principal first dramatic soprano at the ,paris ,opra1 began her career there--after a few appearances at the ,opra-,comique--by singing the very small part of the nurse ,magdalene in ,wagner's ,die ,meistersinger4 ,perseverance1 if allied to ability1 can accomplish much4 ,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 his vocal means1 not his preference1 are best adapted4 ,to follow the contrary path1 and essay rles requiring for their fitting expression more dramatic fire and intensity than his vocal instrument can supply1 would be to shorten his career1 owing to the certain deterioration and possible extinction of the voice4 ,there are sufficient voiceless examples to prove1 were proof needed1 the truth of this assertion2 and their atonic condition is due to the cause mentioned4 ,the first requisite for the aspirant who wishes to follow the operatic career is undoubtedly a voice possessed of the three essential factors of ,quality1 ,power and ,compass2 what is termed in ,italy a voce di teatro1 or voice for the theatre4 ,but an opera-singer is actor as well as singer1 and in this direction more--much more--is now demanded of him than formerly4 ,but to those possessed of what is known as the ,instinct of the ,theatre1 or ,scenic ,instinct1 the gestures and attitudes of the operatic stage1 being largely conventional1 are soon acquired4 ,scenic accomplishments are undoubtedly necessary to the stage-singer1 but his mimetic studies should not preclude him from making himself a thorough master of the vocal side of his art4 ,there is a difference between an actor who sings1 and a singer who acts4 ,besides the mimetic faculty1 certain physical gifts are also needed by the opera-singer1 according to the requirements of the line of rles to which he is inevitably assigned by the nature and type of his particular voice4 ,it is true that stage artifice has now reached great perfection2 but it has its limits1 and cannot accomplish miracles4 ,it requires much imagination and great generosity on the part of the public to accept a tenor1 whose waist-girth would not unfit him for the part of ,sir ,john ,falstaff1 as a youthful and romantic ,romeo1 or a half-starved and emaciated ,rodolphe4 ,illusion is rudely shaken1 if not absolutely dispelled1 in witnessing a soprano1 whose age and embonpoint are fully in evidence1 impersonate a girlish ,gilda or a consumptive ,traviata4 ,such discrepancies may be overlooked by the public in the case of old established favourites1 but it would be unfortunate for the dbutant to commence with these drawbacks4 ,and yet there have been a few famous artists whose extraordinary vocal talent atoned for other very pronounced defects4 ,such an one was the ,pisaroni1 a celebrated contralto1 said to have been so ill-favoured that she always forwarded her likeness to any opera director to whom she was personally unknown1 who offered her an engagement4 ,but so exceptional were her voice and talent1 that certain of her contemporary artists have declared that by the time ,pisaroni had reached the end of her first phrase1 the public was already conquered4 ,as personal preference is very often mistaken for aptitude or natural fitness1 a lyric artist is not always the best judge as to which of the rles in his rpertoire are really fitted to display his abilities to the best advantage4 ,the singer combines in himself both instrument and performer2 therefore he rarely1 if ever1 hears himself quite as does another person4 ,until possessed of the ripened judgment gained by experience1 he would do well to be guided in this matter by one who1 to the knowledge required1 adds taste and discernment4 ,that a liking or preference is sometimes mistaken for the aptitude and gifts necessary for the successful carrying out of certain work1 is too well known to be even questioned4 ,it is the constantly recurring case of the low comedian who wishes to play ,hamlet4 ,a young tenor whose great vocal and physical advantages made him an ideal ,duke in ,rigoletto1 a fascinating ,almaviva in ,il ,barbiere1 found but little enjoyment in life because his director refused to allow him to try ,otello and ,tannhuser1 for which he was vocally unfitted4 ,never show the public what you cannot do1 is the best advice that can be given in such cases4 ,even the finest and most experienced singers are occasionally liable to make mistakes in the choice of rles4 ,madame ,patti once sang ,carmen1 and ,madame ,melba essayed ,brnnhilde2 but ,i am not aware that either of these famous cantatrices repeated the experiment4 99 99 99 99 99 ,for those who intend to follow a concert-singer's career1 there is a vast literature of vocal music specially written for this purpose1 from which to select4 ,there are few modern operatic excerpts which do not suffer somewhat by being transplanted from the stage to the concert-platform4 ,in no case is this more clearly proved than in the selections so frequently given from ,wagner's music-dramas4 ,of course1 ,i am speaking more particularly of those extracts which require the services of a vocalist4 ,such selections given in the concert-room are in distinct violation of the composer's own wishes1 frequently expressed4 ,besides lacking the necessary adjuncts of gesture1 costume and scenery1 the musical conditions of the concert-room are very unfavourable to the unfortunate singer4 ,he has to struggle to make himself heard above the sonorities of a powerful orchestra generally numbering over a hundred musicians1 and placed directly around and behind him1 instead of on a lower level1 as in the case of a lyric theatre4 ,besides which1 ,wagner's works can now be heard in all large cities under the conditions necessary for their proper presentment1 and as intended by their author-composer4 ,therefore1 there is no longer the same reason as may have existed years ago1 for the performance of extracts at purely symphonic concerts4 ,in cases where the singer has to select numbers for a symphonic concert and to be accompanied by an orchestra1 there is a mine of wealth1 not yet exhausted1 in the operas of the older classic composers4 ,these1 being less heavily orchestrated than the ultra modern works written for the theatre1 do not suffer in the same degree from the different disposition of the orchestral instruments4 ,there are also a few vocal numbers with orchestral accompaniments written in the form of a scena1 such as the ,ah1 perfido of ,beethoven1 and the ,infelice of ,mendelssohn1 which might possibly form an agreeable change to the frequenters of symphonic concerts1 jaded a little1 perhaps1 with the oft-repeated ,dich theure ,halle and ,prayer from ,tannhuser4 ,in order to render them more in keeping with the conditions of symphonic concerts1 orchestral accompaniments1 to many songs by the classic composers1 have been made by excellent musicians from the original piano-part4 ,the ethical question involved in the presentation of such works in a form other than that written by the composer1 need not be considered here4 ,each artist must decide the matter for himself4 ,so far as songs with accompaniments for the piano are concerned1 there is a mine practically inexhaustible and from which new treasures are constantly brought to light4 ,for ,recital purposes1 the choice and sequence of a programme is second in importance only to its execution4 ,and although suppleness and adaptability are valuable1 even necessary1 qualities1 in a concert-singer1 he will sometimes find that certain songs--admirable in themselves--are unsuited to him1 for reasons which it is not always possible to define4 ,in such cases it is not a matter of compass1 or tessitura1 of voice1 or even temperament2 there is some hidden lack of sympathy between the composer and his interpreter4 ,a song should seem like a well-fitting garment2 not only admirably made1 but specially designed for the person who wears it4 ,,chapter ,,vi ,,conclusion ,the art of ,singing is at present in a period of transition2 and all unsettled conditions are unsatisfactory4 ,former standards are being thrown down2 and the new ones are not yet elected1 or1 if chosen1 not yet firmly fixed in the places of the old4 ,all ,arts have a period in their history when they seem to reach their culminating point of technical perfection4 ,perhaps this point is reached when the art is practised for its own sake1 without giving much consideration or attributing special importance to what it expresses4 ,sculpture reached its apogee under the ,greeks1 who1 more than any other race1 prized ,form--particularly as manifested in its highest expression1 the human figure4 ,painting also was at its climax of technical development during the ,renaissance1 when life was full of movement1 and costume picturesque4 ,but at this period in each of the two arts1 skill was regarded as of more importance than the subject4 ,in other words1 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 itself4 ,if the work were admirably executed1 the story it told had relatively little importance4 ,singing1 which is speech conveyed through music1 similarly reached its highest point of technical excellence when the voice of the singer was considered as little more than a mechanical instrument2 when beauty of tone-quality and perfect virtuosity were the only ends for which to strive4 ,this period was at its height with ,farinelli1 ,caffarelli1 ,gizziello1 and ended perhaps with ,crescentini4 ,that these singers possessed extraordinary technical skill1 or execution1 is amply attested by the exercises and airs1 still extant1 written for them by ,porpora1 ,hasse1 ,veracini1 and others4 ,that they also had musical sentiment or expression1 is authoritatively proved from the emotion caused in their auditors by their performance of a slow movement or cantabile4 ,but it was musical expression only1 and as if performed on a solo instrument1 as a flute or violin1 which does not possess the faculty of uttering words4 ,the operas in which these singers appeared had some plot or story1 it is true2 but its importance was of the slightest--analogous to1 and of the same value as1 the subject in painting and sculpture at corresponding periods of their history4 ,but singing1 like these two sister-arts1 has passed the period when it was1 or could be1 appreciated purely for the perfection of its technique4 ,it has developed and broadened in other directions1 and more now is demanded of the singer than mere mechanical perfection4 ,composers--notably ,gluck--began to perceive the great possibilities to be attained by the development of the ,greek lyric ideal2 that is1 the presentation of the ,poetic idea by1 and through the medium of1 music2 instead of being1 as formerly1 merely its excuse1 a framework for the musician upon which to hang melodies4 ,although ,gluck1 like all innovators1 was considered by his contemporaries as a revolutionary and iconoclast1 he only strove to develop and perfect an art that had already existed in a primitive form4 ,this was the art of animating a poetic idea by means of melopoeia2 which ,wagner later developed still further4 99 99 99 99 99 ,gradually1 two essentials of good singing--tone-quality and truth of intonation--began to be neglected4 ,but why should either of these two factors be less essential to a singer than to an instrumentalist8 ,of late it has been tacitly assumed1 if not boldly claimed1 that sentiment1 passion1 temperament1 atoned for--even if they did not entirely replace--voice and lack of skill in the artist4 ,but what constitutes an artist8 ,art has been defined by an ,english lexicographer as ,doing something1 the power for which is acquired by experience1 study or observation2 and an artist1 as ,one skilled in the practice of any art4 ,the ,french writer d',alembert says1 ,l'art s'acquiert par l'tude et l'exercice 7,art is acquired by study and practice74 ,if these definitions of art be accepted1 its external expression or manifestation is essential through some vehicle or medium1 otherwise there is neither art nor artist4 ,concepts or ideals have their genesis in mind1 but were they to remain there1 the poet1 painter1 sculptor or musician 7composer or interpreter7 would have no right to the title of artist1 because his concepts remained in thought-form only1 and unexpressed4 ,therefore1 as a composer can be accepted as artist only when he has given that to the world which entitles him to the distinction1 how can his so-called interpreter be considered an artist when1 through insufficiency of technical ability1 he is unable to present satisfactorily the author's concept8 ,no matter in what abundant measure such a performer may possess the good qualities of earnestness1 conviction and sincerity1 he is not an artist4 ,poeta nascitur1 non fit1 has long been accepted as a truism2 and similarly1 it is supposed that the artist also is born1 not made4 ,but seeing that the mechanical side of any art is learned by experience1 study1 or observation--still to quote the definition--without which an adequate manifestation of that art is impossible1 then certainly the artist is made4 ,he is born with certain qualities necessary for the artist1 it is true2 but failing his technical skill1 these other gifts can never be fully utilized4 ,it is to be deplored that the studies of many vocal aspirants are not conducted on the same plan that is followed by those who desire to attain perfection on a musical instrument4 ,these acquire a technique1 and learn or study many works which may broaden or perfect their style1 before commencing to prepare a rpertoire4 ,the opposite course is followed by many students of singing1 who study rles1 instead of learning first how to sing4 ,the full meaning of the highest examples of the modern lyric drama can be made apparent only by those who have fully mastered the vocal1 as well as the mimetic1 side of lyric art4 ,too much importance is1 in my opinion1 attached to the latter branch1 at the cost of the former4 ,i repeat1 an opera-singer should be a singer who acts1 not an actor who sings4 99 99 99 99 99 ,on the occasion of the bestowal of awards at the ,paris ,conservatoire in ,august1 #aije1 ,m4 ,dujardin-,beaumetz1 ,under-,secretary for the ,fine ,arts1 in his address to the students made pointed allusion to the difference of results between the instrumental classes and those for singing4 ,said the orator3 ,it is claimed that singing is in a state of decadence1 and that the cause is largely due to the style of modern music4 ,it is rather owing to the fact that this art is not studied at present with the same methodic diligence that formerly obtained4 ,i would remind the students of singing that they gain nothing by neglecting the earlier studies1 and that their professional future would be better assured if it rested on a solid basis of vocal technique4 ,it is1 therefore1 in their interest that1 with a view to assure this important point1 certain reforms will be instituted4#f ,footnote #f3 ,one of these reforms was that the first year's study is to be devoted entirely to tone-formation2 no attention being paid to the employment of the tones in melody4 ,nor are the professors of singing at the ,conservatoire now selected--as was formerly the case--exclusively from among ex-opera-singers4 ,the professors of the classes for singing were also advised to draw more on the great classic writers for the voice1 instead of confining themselves principally to the operatic rpertoire4 ,every art reaches its apex of perfection1 and then seems to decline2 it may even temporarily disappear4 ,but1 being immortal1 it is never lost4 ,it finds other modes of manifestation1 and reappears in other forms4 ,the principles on which it is founded do not change2 but constantly changing conditions necessitate a new application of these principles4 ,this necessity was acknowledged for poetry itself by ,andr ,chnier3 ,sur des penses nouveaux1 faisons des vers antiques4 7,let us embody modern thoughts in classic verse47 ,music follows the great laws of development to which all things are subject4 ,it would be foolish1 nay1 impossible1 to try to resuscitate an old form of art4 ,foolish1 because the art itself would have lost all except its archaic charm or interest2 impossible1 because conditions have so completely changed that the attempt would be merely the galvanizing of a corpse1 not its reanimation4 ,similarly1 the art of singing can be successful only in proportion as it recognizes the existence of other conditions4 ,these it meets by observing the old principles1 but changing their mode of application4 ,the education of the singer of to-day requires to be conducted on broader and more comprehensive lines than in the past1 on account of the different conditions which have presented themselves4 ,singing--that is1 the alliance and utterance of ,music and ,poetry--is one of the highest manifestations of the ,beautiful1 and is man's supreme and greatest creation4 ,therefore1 singing will not seek in future to rival a mechanical instrument4 ,it will1 it is evident1 give to the poetic idea a prominent1 though not a predominant1 place4 ,but this poetic idea can be revealed to the listener only by a singer who is master of all the technical phases of his art4 ,these component parts of his vocal education must of necessity comprise--as was laid down in the opening chapter of this work--,pose of ,voice1 ,technique1 ,style1 and ,rpertoire4 ,it has been demonstrated that the first of these elements is essential1 because the other stones of the complete structure cannot be successfully laid on an insecure foundation4 ,the singer must have the second1 or he will be unable to materialize his concept1 like an unskilled carver who possesses the necessary material and tools1 but lacks the technical ability to utilize either4 ,he must possess ,colour1 whereby his vocal palette is set with the varied tints necessary for the different sentiments to be expressed2 ,accent1 so that character may be given to the music and appropriate emphasis to the text2 and ,phrasing1 in order that he may punctuate the music effectively and the words intelligently4 ,perfect master of these1 he is in possession of all that goes to make up ,style4 ,and1 if these premises be accepted1 it must be evident that he is in possession of the qualities that were necessary to make singers great in the past1 and are indispensable to make them great in the future4