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Musical Courier 1898-08-15: Vol 37 Iss 962, 1898
59 lines. Read by computer on 21 September 2026. No printed page number was found. See the scan on archive.org.
117 RUE DE LONDRES.
2BRUSSELS, July 29, 1898.
4THE ART OF SINGING AS TAUGHT IN BRUSSELS BY MADAME MORIANI.
6EARLY in the spring, when talking with a well-known music critic, I was told in regard to American girls coming abroad to have their voices cultivated that they had just one idea, viz.: "Marchesi and Paris."
8Now I have absolutely nothing to say against this watchword—only as all American girls cannot go to Paris and study with Marchesi I have thought it would be to their advantage and interest to know what wonderful advantages are to be found in Brussels, and I therefore just produced this device "Moriani and Brussels." After many years' experience I can speak both confidently and conscientiously of the remarkable teaching and the wonderful results obtained by Madame Moriani.
10I see so much constantly written in THE MUSICAL COURIER on the subject of the voice, its production, training, &c., and so much on various professors, their merits and demerits, that it has seemed superfluous for me to enter the lists. Recently, however, so many Americans have come to Brussels, having heard of Madame Moriani, that, in the interest of their compatriots they have begged me to write of what can be found here.
12One of these pupils from San Francisco told me very recently that there were many girls in San Francisco with pretty voices who would be glad and grateful to have such training if they only knew about it. Another lady, also from San Francisco, who has studied with many well-known professors in Paris, came to Brussels and quite by accident went with a friend to hear a little musical talk and explanation of the method given by Madame Moriani. Before the end of the séance she was so astonished and delighted by all she had heard that she felt this was the professor she had been searching for.
14The other day I was talking with another new pupil, the wife of a well-known composer, also enthusiastic, who told me the same story of having studied with many and yet had not been able to make anything of a career, and who said: "I wish, indeed, more people knew about her." In a comparatively short space I cannot do more than give a few general facts as to her teaching.
16It might sound very prosaic and anti-artistic if I were to say that Madame Moriani's teaching is founded on the principles of common sense and good judgment. Nevertheless I affirm that this is the case. Madame Moriani first discovers of what especial treatment the pupil stands in need and then, thanks to her great art, long experience and complete knowledge of the voice, the proper remedy is applied. Flexibility is the great essential. In these days, when people have not time to study long enough and thoroughly enough before beginning their career, when vocalizing is considered old-fashioned and only eight or nine notes in the medium of the voice are required in order to scream a little Brahms, Grieg, Schumann, &c., one is naturally a little startled to hear Madame Moriani say that four years are required to make an artist.
18In the days of the great Italian singers they studied eight and nine years before beginning their career, and when they did begin knew thoroughly their art in all its branches, and were able to sing for years. The length of time, however, required by a pupil depends entirely upon the state of her voice when she begins (or he, as the case may be, for Madame Moriani teaches men as well), and what is the end in view; sometimes a little advice and a few lessons will suffice to set the pupil on the right track. I cannot lay down any positive rule as to time, but whatever the end in view, grand opera, oratorio, concert singing, teaching, singing in church, the art of singing must be thoroughly understood, the technic of the voice must be perfected, the instrument must be gotten into condition, the voice posed and ready for whatever work it is destined to perform.
20I am constantly astonished in talking with people who think they can sing how little they know about how to sing. Many think it is sufficient to be able to sing in tune and with expression; this I grant is a good deal, and too often an exception, still it is not enough.
22To be a singer properly speaking you must understand your art. Frequently nowadays you hear it said: "Oh, I don't like a soprano voice, I want to be a contralto." I have been told there are professors who undertake to perform this impossible feat; they might just as well say they would give your eyes a different color. It is impossible to change the voice nature has given you. The sort of voice you possess is determined by the timbre or color rather than by the range. The conscientious professor can develop and train it, but he cannot change it.
24Madame Moriani is of an ancient Italian family. She studied in Paris with various professors, all of whom she designates as "varnishers," until she finally had the good fortune to meet Barbant, the creator of "Faust," and one of Garcia's finest pupils. It is to his excellent teaching that she owes the fundamental knowledge of her art. Added to this, her own wonderful gifts and experience make her a remarkable teacher. She has the divine spark so necessary to success, together with a passionate love of her art in general and teaching in particular.
26To all interested in singing I would suggest that if even only passing through Brussels it would be worth while to attend one of the classes, as it is of very special interest to hear Mme. Moriani teach. She accompanies at the piano herself entirely by heart unless by chance the pupil happens to bring a new composition to try, in which case it is read at sight with absolute ease. She throws her whole soul into her work and seems to communicate some of her own ardor and enthusiasm to the pupil.
28In speaking of schools and methods Madame Moriani says there are but two, the good and the bad.
30The Italians are the only nation that have ever thoroughly understood the voice and the perfection to which it may be brought, and the Italian methods are those followed for the work; that is, the training of the voice in order to obtain flexibility and to pose the voice. This latter is the corner-stone of the art of singing. When the voice is properly posed you can play on it at will as easily as on a piano or violin; each note will have its place like a little hole that it will fall into with perfect ease; the voice is then prepared and can sing any style of music that is within the range of the voice in question.
32For example, with myself, I can tell if a note is true by the feeling in my larynx, even if I did not hear it. It seems to fall into its natural place. Italian music serves as work in order to obtain the flexibility, not only necessary for vocalizing, but for singing the heaviest and most sustained music.
34How is it possible to obtain shading; the different degrees of forte and piano, if the voice is not flexible? Whereas, if the voice is flexible, all effects are possible. If, on the contrary, the voice has been forced by singing too sustained music before it is ready, the result is that instead of flexibility the vocal cords become stiffened, lose their elasticity, and a constant tremolo or flatting results. Here are two great questions that constantly confront the professor. How to cure these evils and can they be cured?
36I say yes, confidently, as I have often been witness of the means applied and the results obtained, but these defects result from such a variety of causes and the cure depends so entirely upon the especial care, that it would be impossible to enter into an explanation here. It would require following the classes for some time in order to understand the question thoroughly. In some cases singing out of tune can be easily remedied and in others it requires much time and patience. It all depends upon the particular case. In all events it is purely a material question. Of course the ear must be the guide as to when the note is true, but in order to find the means to sing in tune you require a professor who has made a special study of this question.
38Madame Moriani herself had a malady of the throat which prevented her singing the note she intended. It was entirely a nervous trouble. For instance, if she wished to give C she would give the B instead. It was impossible to direct or control her voice, this from no fault of hearing as she is most wonderfully endowed. Her ears never deceive her. As she has been through this trouble she is especially well fitted by her own experience to cure others, as she is entirely cured. Having had so much success in such cases has given her quite an experience for mending voices. Those who have studied badly, strained and hurt the vocal cords derive immense benefit from her teaching and counsels. She has acquired such a reputation in this branch of her teaching that she now goes to London every month on the first Sunday, returning the second Sunday, stopping there six days to give consultations and help those who are not able to come here to study. Indeed, every inducement has been used to persuade Madame Moriani to establish herself in London, but she will not leave Brussels, which offers many more advantages to the student than London. There is a more musical atmosphere here, and the French language can be easily acquired. One great attraction for students preparing for grand opera is the class for lyric declamation and acting given in Madame Moriani's classroom by an excellent professor, probably the only one who has exactly the same principles for teaching his art, as he is the only surviving pupil of the great Quelus. The classroom of which I speak is furnished with a small stage, and nothing is lacking for the complete formation of a singer and artist in the highest acceptation of the words.
40Madame Moriani goes to Spa for the month of August, where some of her American pupils will follow her in order to continue their studies, and others who will be glad to take advantage of her stay there. On September 1 Madame Moriani will return to Brussels, 17 Rue de Trèves, and on October 1 she will again begin her visits to London.
42A word before closing in regard to what I have said of Italian music. I should not like any misapprehension on the subject. I want to be quite explicit in stating that all schools and styles of music are taught. Madame Moriani speaks four languages fluently, and therefore is capable of giving the proper style to each, and she is such a great artist that the interpretation and special style of each composer, ancient or modern, German, Norwegian, Russian or whatever it may be is carefully insisted upon.
44Mlle. Alice Verlet, now well known and appreciated in America, is to be at Spa August 12 for a concert, when she will sing some of the compositions of the young Belgian composer Mr. Hillier.
46My next letter will be on the study of the piano in Brussels and the different professors.
48HELEN S. NORTH.
50Mrs. O. L. Fox.
52Mrs. O. L. Fox, one of the well-known vocal teachers of Chicago, and for fifteen years connected with the Chicago Musical College, is paying a visit to New York, where she will remain during the greater part of August.
54Richard Burmeister.
56Richard Burmeister, who is at present on Mackinac Island, Mich., for a few weeks of rest, spent a part of this summer with different tribes of Indians. On the Fourth of July he was at a camp of about 4,000 Mandan Indians, who, upon this occasion, performed their war dances, sham battles and games.
58Mr. Burmeister will bring home several new compositions for piano and violin, besides a number of songs. He will be back in New York about September 15 to resume his winter work. Mr. Burmeister will be heard in recitals and symphony concerts, with orchestra, in New York during the coming season.
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