Scan 13
Musical Courier 1892-09-14: Vol 25 Iss 655, 1892
191 lines. Read by computer on 22 September 2026, twice; the two readings disagreed in places. Printed page 14. See the scan on archive.org.
1a fact to be completely illustrated by scientific researches, its observation being extremely difficult and liable to many mistakes. Neither can it be sufficiently described by more or less superficial empiricism through different devices, the chief of which is considered singing upon the Italian open vowel A. It is known that this vowel can give to the voice a guttural and in many cases a vulgar tone. There are besides in the compass of the voice notes which are not easily produced on that vowel, particularly at the beginning of the study, unless it is more or less turned toward another vowel.
3Every singer is aware that the less vocal sounds i (ee) and u (oo) may be of great advantage to help the right placing of certain sounds and to give them resonance and firmness, the first keeping the root of the tongue away from the soft palate, and thus aiding the current of air in directing itself against it; the second forcing the larynx down and bringing the voice forward in the mouth. As to a round A and O, everybody knows how much they contribute to give the voice a more noble and homogeneous tone. It is, by the way, one of the weak points in the theory of the voice not to have sufficiently acknowledged and explained all the facts relative to the production of the voice, and to have regarded the modification of form of the throat and mouth cavities simply as conditions of sonority and timbre.
5The reproach which has been cast on the Italian school as to superficiality and want of well defined and appropriate rules on many important points is, perhaps, not without some foundation. So it is with the general custom of tapping some spot between the eyes, about the nose or elsewhere, to point out the direction to be given to the current of air in producing the notes in the different registers. It is a fact that the breath coming out of the larynx takes such or such direction for the different series of sounds, so as to ring in different parts of the throat and mouth cavities.
7This is not only a necessary condition of the purity, beauty and resonance of tone, but in some cases also of its very production, and the singer experiences peculiar sensations corresponding to those directions, so as to justify such denominations as chest voice, head voice, which appear rather strange, the voice being only produced in the larynx by the aid of the lungs. But if those indications, which can be exactly determined are in most cases successful, it occurs not rarely that the student can understand but very little of it, and then they serve only to confuse him, causing him to exhaust himself in vain efforts to carry out the suggestions of his teacher and giving frequent occasion to defective timbre, as in guttural and nasal tones.
9The direction given to the column of air is, moreover, not the sole element to be reckoned in the "placing" of the voice, though it includes most of its chief conditions, causing the different parts of the throat and mouth to assume naturally the required position.
11On these accounts we perceive the evident necessity of some more suitable and well defined device, which being in correspondence to the effect desired and consequently efficient to obtain it, may be also clear, intelligible, and under the most exact control of both pupil and teacher.
13It is to be observed that the different vowels produce in the throat and in the form and size of the vocal channel peculiar changes alike to those required for the production of notes in the different series. So the use of the different vowels may replace the aforesaid expedient with advantage, they being exactly determined, clearly perceptible to the ear, and their utterance depending entirely on the will. Every sound has its fittest vowel—that is to say, that through which it is more easily produced and which gives it the greatest sonority, purity and beauty of tone. Thus the ingenuity of pupil and teacher must be exercised in seeking for each note the fittest vowel.
15Vowels are, moreover, capable of numberless modifications, which render them most apt to serve the purpose of voice in singing, and through which it is also possible to pass by almost imperceptible degrees from one to another. This explains how different vowels may be sung on the same note, as it is the case in singing with words. For when the singer has learned to place rightly every sound by the aid of the proper vowel he can by degrees accustom himself to change it to the other ones. And to this end serve even more the compensations which may be established in the throat and mouth cavities, enabling the singer to obtain by different means the same results. To give an example, i (ee) causes naturally the shrinking of the jaws and u (oo) of the lips, so that inexperienced singers cannot utter them with the required opening of the mouth. And yet well directed practice may bring one to open the mouth, even on such vowels, sufficiently to give the sound the necessary effect.
17To this end we must call to our aid another series of devices, such as lowering the larynx, expanding the back cavity of the mouth, and other similar expedients, clearly perceptible, partly tangible and quite dependent on and controllable by the will, which, in union with the right use of vowels, constitute the whole of the true and perfect art of placing and training the voice.
19The sensations alluded to above experienced by singers in the different registers and sections of registers, as they can be exactly established and described, are not, however, to be undervalued. They must, on the contrary, be constantly borne in mind as the surest proof of the right placing of the voice. Only alone they cannot, for the reasons already named, give a clear and absolute direction to it.
21There are still other points where the want of precise hints, both in scientific and empirical systems, must be sincerely acknowledged.
23One of these cases is the influence which consonants may have upon the production of the voice. This is not generally taken duly into account. Though consonants have nothing to do with the voice, which is only produced in the larynx and exclusively represented by vowels, falling on the moment of the attack of the tone or of the passage from one tone to another, as is the case in music with words, they may affect the sound by rendering its production more or less easy. Their effect upon the voice depends upon the amount of liberty they give to the passage of the air and the different forms they cause the cavities of the throat and mouth to assume.
25L has been long considered as the most vocal of all consonants, as it gives less impediment to the passage of the voice than any other, so that it can be sung on almost as well as vowels, and many masters, to help the emission of the voice, suggested to their pupils to sing exercises on the syllable lah. But to practice on a syllable beginning with a consonant instead of on a mere vowel would prevent a neat and pure striking of the tone, which is so important and difficult to acquire, as consonants, removing any occasion to gliding and checking the glottis, and to aspirations, leave no opportunity to learn how to avoid such obvious defects.
27Not wishing to go too far into the subject it is enough for the purpose to show by these simple hints how it is possible and is also important to build up a truly earnest, precise and scientific system of teaching singing, taking from tradition that which is reasonable and proved by practice, and making one's own method the ascertained results of careful and scientific observation, the one supporting the other and constituting a whole not subject to prejudices and fanciful influences.
29The teaching of singing is, of course, a matter so dependent on individuality, both as regards master and pupil, that it is sometimes difficult to distinguish exactly the action of the system and the peculiarities of its application. But, speaking from a higher point of view, if different schools can boast many satisfactory results, the chronicle which has registered the latter has not shown the reverse of the medal; that is, how many voices and talents have been by the same systems spoiled, forced or injured.—Liberio Vivarelli, in London "Musical News."
31Florence, August 18, 1852.
33Organs and Organists at the French Capital.
35LA MADELEINE—No. 6.
37THE inauguration of this organ, built by Cavaillé-Coll & Co., brought forward one of the largest and best instruments then known to the world, and although it has had constant use it is still in good condition and capable of producing effects difficult to duplicate in our largest instruments of the present day.
39The organ was opened October 29, 1846, with a grand "Scence d'Inauguration," followed by a second the next month (November 13). Mr. Fessy was then organist of the church and at both recitals had the assistance of Messrs. Séjan and Lefèbure-Wély, who gave the following program (October 29):
40Improvisation sur l'orgue…………………………………………..Fessy one of two readings
41Improvisation sur l'orgue………………………………………Fessy one of two readings
42"Confirma hoc Deus"…………………………………………..D'Imelli
43Artistes de la Chapelle de la Madeleine.
44Improvisation sur l'orgue…………………………………………..Séjan one of two readings
45Improvisation sur l'orgue………………………………………Séjan one of two readings
46"Ave Maria"…………………………………………..Cherubini one of two readings
47"Ave Maria"…………………………………………………….Cherubini one of two readings
48Alexis Dupont.
49Improvisation sur l'orgue…………………………………………..Lefèbure-Wély one of two readings
50Improvisation sur l'orgue………………………………………Lefèbure-Wély one of two readings
51"O Filii" (du 16e siècle), chant à deux chœurs…………….Leising one of two readings
52"O Filii" (du 16e siècle), chant à deux chœurs………….Leising one of two readings
53Artistes de la Chapelle.
54Improvisation sur l'orgue…………………………………………..Séjan one of two readings
55Improvisation sur l'orgue………………………………………Séjan one of two readings
56Motet…………………………………………..Alexis Dupont. one of two readings
57Motet………………………………………………………..Alexis Dupont. one of two readings
58Improvisation sur l'orgue…………………………………………..Lefèbure-Wély one of two readings
59Improvisation sur l'orgue………………………………………Lefèbure-Wély one of two readings
60"Insane et Vanæ Cura," motet…………………………………………..Haydn one of two readings
61"Insane et Vanæ Cura," motet……………………………….Haydn one of two readings
62Artistes de la Chapelle.
63Improvisation sur l'orgue…………………………………………..Fessy one of two readings
64Improvisation sur l'orgue………………………………………Fessy one of two readings
66The organ is placed in a separate balcony directly over the entrance doors (as is the custom in Paris), with the keyboards detached, thus enabling the organist to face the high altar, in the rear of which is placed the "orgue d'accompagnement" and the choir (directed by Mr. Gabriel Fauré), which is considered as one of the best in the city, often giving programs of a high order and always well prepared.
68The grand organ is played by Mr. Theodore Dubois (succeeding Mr. Camille Saint-Saëns), who was born at Rosnay, France, August 27, 1837. His studies at the conservatoire were under Mr. Lauret (piano), Mr. Bazin (harmony and accompaniment), Mr. Benoist (organ) and Mr. Ambroise Thomas (fugue and counterpoint), and in 1861 he obtained the Grand Prix de Rome in the class with Mr. Jules Massenet. His compositions have been numerous, including several operas, cantatas, orchestral suites, masses and many compositions for the piano, organ and the voice, while his "Notes et Etudes d'Harmonie" is considered one of the best written works on the subject, and is used exclusively at the Paris Conservatoire and by Mr. Guilmant. Mr. Dubois is very genial and receives his guests in the organ gallery each Sunday—coming as they do from all parts of the world—with a cordiality most pleasant to receive.
70At the regular services he plays mostly from the works of J. S. Bach and his own works, with frequent improvisations. He was appointed professor of harmony at the conservatoire in 1871, and succeeded the late Léo Delibes as professor of composition in 1890.
72This is the organ scheme:
74GREAT ORGAN.
751. Montre………………feet. 16 one of two readings
761. Montre…………………feet. 16 one of two readings
772. Violon basse………………16
783. Montre………………9 one of two readings
794. Salicional………………8 one of two readings
805. Flûte harmonique………………8 one of two readings
816. Bourdon………………8 one of two readings
823. Montre……………………..8 one of two readings
834. Salicional…………………8 one of two readings
845. Flûte harmonique………….8 one of two readings
856. Bourdon……………………8 one of two readings
867. Prestant……………………feet. 4 one of two readings
878. Quinte……………………..3 one of two readings
889. Doublette…………………2 one of two readings
8910. Plein jeu…………………rks. 10 one of two readings
9011. Trompette………………..feet. 8 one of two readings
9112. Cor anglais………………8 one of two readings
93SWELL ORGAN.
941. Flûte harmonique………………feet. 8 one of two readings
951. Flûte harmonique………….feet. 8 one of two readings
962. Bourdon………………8 one of two readings
972. Bourdon……………………8 one of two readings
983. Muzette………………8 one of two readings
993. Muzette…………………..8 one of two readings
1004. Voix humaine………………8
101(no line here) one of two readings
1025. Flûte octavante……………feet. 4 one of two readings
1036. Octavine…………………2 one of two readings
1047. Trompette harmonique……..8 one of two readings
1058. Clairon harmonique……….4 one of two readings
107CHOIR ORGAN.
1081. Montre………………feet. 8 one of two readings
1091. Montre……………………..feet. 8 one of two readings
1102. Viola de gamba………………8 one of two readings
1112. Viola de gamba…………….8 one of two readings
1123. Flûte douce………………8 one of two readings
1133. Flûte douce……………….8 one of two readings
1144. Voix célestes………………8
1155. Prestant………………4 one of two readings
1165. Prestant……………………4 one of two readings
1176. Dulciana……………………feet. 4 one of two readings
1187. Octavine…………………2 one of two readings
1198. Trompette…………………8 one of two readings
1209. Basson et hautbois………..8 one of two readings
12110. Clairon……………………4 one of two readings
123SOLO ORGAN.
1241. Sous basse………………6 one of two readings
1252. Basse………………6 one of two readings
1263. Flûte harmonique………………8 one of two readings
1274. Flûte traversiere………………8 one of two readings
1285. Flûte octavante………………8 one of two readings
1291. Sous basse………………..6 one of two readings
1302. Basse……………………….6 one of two readings
1313. Flûte harmonique………….8 one of two readings
1324. Flûte traversiere………….8 one of two readings
1335. Flûte octavante……………6 one of two readings
1346. Octavine…………………2 one of two readings
1357. Trompette harmonique……..8 one of two readings
1368. Deuxième trompette……….8 one of two readings
1379. Clairon……………………4 one of two readings
139PEDAL ORGAN.
1401. Quintaton………………feet. 3 one of two readings
1411. Quintaton…………………feet. 3! one of two readings
1422. Contre basse………………16
1433. Violoncelle………………8 one of two readings
1444. Grosse flûte………………8 one of two readings
1453. Violoncelle……………….8 one of two readings
1464. Grosse flûte……………….8 one of two readings
1475. Bombarde…………………feet. 16 one of two readings
1486. Basse contre………………16 one of two readings
1497. Trompette…………………8 one of two readings
1508. Clairon……………………4 one of two readings
152Together with fourteen combination pedals.
154WILLIAM C. CARL. one of two readings
156William C. Carl. one of two readings
157(To be continued.)
159A Grotesque.
161THE following is a veritable copy of a letter sent to a Baltimore manager:
163Augusta, Ga Sept. 6th, 92
164Dear Sir—I take a short space of time to write you these few lines hoping to get anser From the question that I ask I would like to fine out what is the best thing to cultivate a Singers Voice I have been trying every thing and cant fine anything to cultivate my Voice yet I have been Sucking lemons when house and they do me verry little good I Sung in a Jubilee club the other night and I was so house that I could hardly get my Voice above a whisper.
165I would like for you to fine out what is the best to cultivate my voice and send me word I would like for you to send me your latest catalogue of Songs also Please anser Right away.
166Yours truly, one of two readings
167Yours truly. one of two readings
168Geo. Fullerton.
170BREITKOPF & HÄRTEL, one of two readings
171LEIPSIC, BRUSSELS, LONDON AND AT 15 E. 17TH ST., NEW YORK. one of two readings
172(no line here) one of two readings
174Breitkopf's Popular Piano Music.
175A collection of pleasing modern compositions of medium difficulty.
176CAREFULLY FINGERED.
177ASK FOR NOVELTY LIST No. 4.
179NEW YORK COLLEGE OF MUSIC,
180128 and 130 EAST 58th STREET.
181ALEXANDER LAMBERT, Director.
182Mme. FURSCH-MADI, Principal of Vocal Department.
183ALL BRANCHES OF MUSIC TAUGHT
184Faculty comprises the most eminent instructors.
185NOTICE.—The New York College of Music will remain open during the entire summer.
187New York German Conservatory of Music,
1885 & 7 West 42d St. near Fifth Ave., New York.
189L. G. PARMA, Director.
190ALL BRANCHES OF MUSIC TAUGHT FROM BEGINNING TO HIGHEST PERFECTION.
The computer misreads some letters and numbers. Where a name matters to you, read the scan.