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Musical Courier 1902-03-26: Vol 44 Iss 1148, 1902
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1singing voice (more particularly the female voice) where a change of mechanism occurs, and also that these subtle changes are attended, when properly produced, by slight differences of color. Still many of the present modes of training the voice result in accentuating these changes of color, thus giving to each group of notes a separate and sharply defined character instead of, as is done with any mechanical instrument, seeking to establish a smooth and even scale throughout its entire compass. Each of the four strings of a violin or 'cello has its own particular characteristics, but a skillful player manages to pass so smoothly from one to the other that the point of demarcation is unnoticeable.
3The truth of this system you shall verify yourselves in several vocal illustrations, which will demonstrate that the observance of the natural law I spoke of insures a frank and easy emission of tone, combined with the utmost possible sonority, and a perfect equality throughout the entire compass.
5[The vocal illustrations were here given.]
7TECHNIC.—When the correct emission of voice is secured each vocal tone should then be considered under its three different phases of pitch, color and intensity. That is, a singer must be able to sing every tone throughout the compass of the voice (pitch), with every shade of color and degree of intensity. A great number of different exercises is, in my opinion, unnecessary; but from the moment that a correct emission (pose de la voix) is obtained should commence the practice of the different vowel sounds—oo, oh, aw, ah, ai, ee—on simple, well formed vocal phrases throughout the entire range. After a degree of proficiency is obtained, these phrases should be repeated with different degrees of intensity, varying from pp. to ff., or vice versa, and throughout the entire compass of the voice, avoiding a frequent use of the two extremes. The middle of the voice is the part to be first perfected. It is this portion of the range with which most singing has to be done, and should be the first to be cultivated and developed. I cannot draw too much attention to the excellent and speedy results attained by a use of the different vowel sounds, from the moment that a correct production is secured. As not infrequently in singing with words the organs of articulation and the organs of voice clash, that is, certain extreme notes may be emitted with ease but become difficult when the conformation of the vocal cavity has to be materially altered for vowels such as ai or ee, the practice I have spoken of is most valuable, and dispenses with the use of many and fatiguing solfeggi, retaining only such as may be useful as an aid to form style. All exercises for fluency of execution, or agilità, may be summed up under three heads—scales, arpeggi and grupetti, practiced at different degrees of speed, color and intensity. I advise a certain amount of study in this branch, even to those voices that may not have any practical use for it in the roles they may have to sing; as otherwise the style always appears somewhat heavy and labored.
9STYLE.—One may have style in singing, and one may have a style. The former can be taught, the latter is individual and personal. The modern lyric drama is not a vehicle for the acquisition of style in singing. It is to the old composers for the voice that one must look for help in the acquisition of this indispensable part of a singer's education. The diligent study of the works of these masters results in an absolute control obtained over the vocal powers, with a readiness and ability to carry out and reproduce the artistic ideal, such as can be acquired in no other way. Unquestionably it is in the recitatives of Händel, Bach, Gluck, &c., that we must look to obtain that breadth and purity of style which will enable a singer to successfully render music of no matter what composer or school. A clear enunciation and the ability to sing with color and accent are essentials in singing recitative; the same factors, combined with a good sostenuto and secure and firm agilità, are the requisites for aria; and, as I have said, it is to the old masters that we must turn for valuable illustrations. My views on the importance of a sound, preliminary study of these works to those destined for the lyric stage are supported by the great artist Fauré, who said: "I strongly recommend to pupils the serious study demanded for their proper interpretation of works at present unnoticed, without troubling oneself as to whether these works will have a practical application by forming part of one's actual repertory. As the dead languages are studied without any direct idea or intention of speaking them, so should an earnest study be made of the classic religious music of the old masters, followed by the grand declamatory school of Händel, Gluck, Sacchini and Salieri, which, by broadening and refining the style, undoubtedly gives to singers a much higher interpretation of the more modern music." This is most excellent advice, and coming from such a source, authoritative. In no other way can we find the means of acquiring the purity of diction, breadth of phrasing and dramatic accent so indispensable to singers, and which can be afterward turned to good account in modern lyric works. The absurd straining after the novel and original, resulting only in the bizarre and eccentric, which unfortunately disfigures the performance of some of our most prominent lyric artists of the present day would be entirely absent had their preliminary studies been formed on the plan I have indicated. An exaggeration of sentiment frequently obtains, which, mistaking hysterics for emotion, abandons the written notes of the composer and resorts to a broken sort of utterance, which is neither singing nor speaking, thus being an admission of the inability of music as a vehicle of expression, and certainly destroying the illusion which is the basis of lyric art. Take as an illustration of this spasmodic utterance, which is neither declamation, spoken or sung, the extravagant manner in which certain passages in the roles of Carmen and Don José, or the last phrases of Valentin's death scene in the "Faust" of Gounod, are sometimes rendered.
11The last branch of a singer's education, viz., repertory, is so wide a field that I intend to give another conference devoted specially to this subject, and explaining the essential requisites for opera, concert and oratorio.
13In conclusion let me say that no matter what may be the many and varied causes which have led to the undisputed decadence in the art of singing, I unhesitatingly affirm that studies based on the course I have indicated will undoubtedly lead to a higher standard in vocal art. Indeed, just in the same proportion as the ability of the orchestral player has advanced, owing to the greater skill of execution required by modern scores, so has the art of the singer declined, and it is only through serious training and discipline, the logic of which I have endeavored to show, that a return to a better state of things can be obtained.
15Walker Reception in Honor of Madame Cleaver.
17Of all the receptions given this season in the Francis Walker studio, at the Van Dyck, which is the headquarters of the Walker-Severn School, none has been more delightful than the one given on the afternoon of Tuesday, March 18, by Mr. Walker, in honor of Mme. Eleanor Cleaver. Mrs. Mary W. Ketchum assisted Mr. Walker in receiving the many guests, and Mrs. Charles Pliny Bromley and other ladies presided at the tea table. The musical program included contributions from Mme. Litta von Elsner, Edward Martindell, Ingo Simon, Baroness von Ryhiner and Miss Dax. Madame Cleaver's lovely voice was heard to great advantage in songs by Gluck, Augusta Holmès and other composers.
19Among Mr. Walker's guests were Mrs. Joseph Pool, Mrs. William Tibbetts Salter, Mrs. Henry Burgoyne Wilson, Mrs. David S. Brown, Mrs. Seymour Brown, Mrs. L. L. Redding, Miss Youenes, the Misses McFarland, Mrs. Mary Borden Carter, Mrs. Rollie Borden Low, Miss Kate Percy Douglas, Miss Gerta Hatch, Mrs. Philip Carpenter, Mr. and Mrs. Robert H. Hatch, Mrs. Edward C. Williams, Mr. and Mrs. Alfred Houghton Clark, Miss Huntington, Douglas Maxwell Stanfield, Mrs. Charles Smylie, Mr. and Mrs. Nye, Miss Emma Trapper, Mrs. Nielson, Mrs. Grace Russell Smith, Mrs. Olcott, Mrs. George Hamilton Marsden and Hobart Smock. Mr. and Mrs. Edmund Severn were detained by preparations for the Severn Trio concert in the evening, but will continue to receive with Mr. Walker on Tuesday afternoons in his handsome studio until June, when he leaves to direct the seventh annual session of his summer school in Florence, Italy.
21SEVERN TRIO CONCERTS.
23The Severn Trio gave the third concert of their fifth season at the hall of the Tuxedo, Madison avenue and Fifty-ninth street, last Tuesday evening, March 18. A large and fashionable audience greeted these earnest musicians and generously applauded their attractive program. The trio played as the first number of the evening a Trio by Robert Volkmann in B flat minor. The work, which is op. 5 in the composer's published scores, is something of a novelty here, and it seems rather curious to announce as a novelty the composition of a man who died nearly twenty years ago. Like Volkmann's Serenade for 'cello and orchestra, a romantic strain pervades the Trio, and it is otherwise a work of charm and symmetry. It was beautifully performed by the Severns. Later the trio played the "Theme and Variations" from Tschaikowsky's Trio, op. 50, and this proved a tear compelling movement, strongly suggestive of what a Lenten period should be in a weary, sinful world. As a request number, the Severns played the first movement of Dvorák's "Dumky" Trio, with its wealth of folklore themes from fascinating Bohemia.
25Robert Kent Parker, a baritone, or more accurately described as a basso cantante, and Arthur Severn, the 'cellist of the trio, added solos. Mr. Parker sang "Vision Fugitive," from Massenet's "Herodiade," and two of Korby's Hungarian melodies, "Mourning in the Village Dwellers," and stirring stanzas, "Had a Horse." Mr. Parker's voice is most agreeable in quality, ample in quantity, and he sings some things with taste. He, however, over-sentimentalized the music of the Korby songs. The London drawing room style (Mr. Parker has studied with Liza Lehmann) will not suit discriminating audiences here. But Mr. Parker is young, so can overcome the habit. For an encore Mr. Parker sang the Old English song, "Drink To Me Only With Thine Eyes." Mr. Severn's 'cello solos were very enjoyable. He played familiar pieces, a "Reverie" by Dunkler and the Berceuse from Godard's "Jocelyn." In response to several recalls Mr. Severn performed with rare tenderness Schubert's "Ave Maria," an admirable piece for the 'cello. Mrs. Severn, the pianist of the trio, accompanied for the soloists with unfailing sympathy and musical understanding.
27OLEY SPEAKS.—Oley Speaks, the basso, has already filled or will fill the following engagements: March 17, Newark, N. J.; March 18, musicale, Waldorf-Astoria; March 20, Carnegie Lyceum; March 21, Lakewood, N. J.; March 23, Newark, N. J.; March 27, Carnegie Lyceum; March 30, musicale, Majestic Hotel; April 4, Morristown, N. J.; April 8, Waldorf-Astoria; April 18, Waldorf-Astoria.
29It is not surprising that Mr. Speaks is having a busy season, for both his voice and his singing are far beyond the ordinary. Mr. Speaks' latest composition, "When Mabel Sings," is meeting with unusual success. He has made a remarkably fine setting for Frank L. Stanton's little poem, and it is sure to prove one of his greatest successes.
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