Books › Musical Courier 1908-04-01: Vol 56 Iss 14, 1908 › scan 34
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Musical Courier 1908-04-01: Vol 56 Iss 14, 1908
93 lines. Read by computer on 23 September 2026, twice; the two readings disagreed in places. Printed page 35. See the scan on archive.org.
1BISPHAM DELIVERS AN ESSAY ON "SINGERS AND SINGING."
3If all the aspirants for future vocal honors could have heard David Bispham last Tuesday night, at Steinway Hall, no doubt some of them would today direct their attention to other fields. Mr. Bispham did not sing. This was one of the occasions when he talked. The baritone appeared under the auspices of the National Association of Teachers of Singing. Hermann Klein, chairman of the executive board, presided.
5Mr. Bispham was announced to speak on the subject of "General Principles in the Art of Singing." His essay, a lengthy paper, was filled with wisdom, eloquence, humor and advice. To those about to take up careers as singers, he quoted the laconic advice of Punch to those about to be married, namely, "Don't."
7Before presenting Mr. Bispham to the assemblage, Mr. Klein referred to the death of the late Anna Lankow, who had been a member of the association. Madame Evans von Klenner, after a graceful tribute to the life and career of Madame Lankow, moved that the association draw up resolutions of sympathy. The motion was seconded by Victor Harris.
9Some extracts from Mr. Bispham's essay follow:
11There seems to have been during the last few years more than a revival of interest in the art of singing. The interest has increased until it has positively become a craze, and who can tell what it may lead to? A renaissance of that branch of art prevails; there seems to be signs of a general artistic revival in this country, for, besides an awakening among the other arts, such as painting, literature and architecture, even the drama shows signs of a revivifying, while people are actually "opera mad," and a very good thing, too, if it leads to the formation of what we most need, national opera in our own tongue, founded upon the best of modern foreign models. But to the end that we may have opera without being obliged to import singers, we must encourage and train the voices we have at hand, and form models of our own for future generations to look up to—examples for them to emulate. Indeed, there are not a few already, of whom we have great cause to be proud—women and men of American birth, and at least partly of American training, who, after study and work abroad, have returned to our own stage, where we have been proud to welcome them with the greatest of foreign singers of our generation.
13Who today has forgotten the operatic triumphs of Emma Juch, Clara Louise Kellogg, Anna Louise Cary, and others of their day, and are not the names of Nordica and Eames household words throughout the length and breadth of this great land, as well as in the opera houses of Europe?
15Following upon their heels there come trooping Madame Homer, Madame Fremstad, Suzanne Adams, Mary Garden, Geraldine Farrar, Bessie Abbot and Alice Nielsen; not to speak of Madame Cisneros, Jane Noria, Miss La Fornia, and others among the later arrivals too numerous to mention at this time, but of whom great things are to be expected in the near future; and with these must not be forgotten the members of the sterner sex, Mr. Blass, Mr. Martin (well known in our midst), Mr. Griswold, Mr. Whitehall, Alan Hinckley, Mr. Macleannan, and others equally well known in the Continental opera houses and at Covent Garden in London.
17I fear, however, that the average young man or young woman, who, with a healthy voice and a good ear, thinks to make a success upon the stage, the literary aspect of his art, if so it may be called, counts for but little.
19Musical journals are full of advertisements of singers who have made a certain amount of success as far as it goes, and from these ranks we are constantly hearing of recruits to the stage, principally in light opera, as in the recent case of young Edward Johnson, who is making such a success in New York at this moment.
21The one thing about our would be artists that is more striking than almost any other besides the natural cleverness of our own countrymen is the lack of seriousness that many of them make so plain that he who runs may read. The "get rich quick" person must understand that if he is ever going to get rich by singing, it will be through no process of celerity.
23In Italy we are accustomed to thinking of song as a natural gift. In England we are accustomed as considering it as rather a pedantic acquirement. In Germany, more than anywhere else in Europe, singing has taken on an intellectual touch; while in France, the artistry of all that is done upon the stage is fully apparent. Here in America, if anywhere in the world, we should be able, as we are compounded of all the other nations, to combine the good points of them all. Nowhere better than in New York have the singers before our public been able to acquire a knowledge of the methods of their brother and sister artists from other countries, for have we not upon the stages of our two opera houses the representative vocalists of Europe, and are not our own, who are working there with them, holding their ground without a shadow of a doubt? Fortunately, the stage in this country is no bar to respectability or social standing; therefore to us is open the highest that the theater has to confer, and it is open to the gifted ones, from whatever stratum of society—from the lowest to the highest. The aristocracy of art in this country is assured, and is respected. The only really bad thing about the stage is the bad work that may be heard or seen upon it. The only really bad thing about a singer's career is bad singing.
25Now, how to insure good singing: Of course, there is only one way to sing, and that is the right way. There is only one kind of person that can sing, and is a real singer. You may talk and write about singers and their work from now until doomsday, and it will not carry one iota of weight as against a simple song, beautifully sung; and yet it is necessary to talk in order to inculcate ideas, and instill into the minds of beginners certain doctrines—the A, B, C of their art. The teacher finds that some who try are not singers, and never will be, or can be. Others have the power, only it needs to be brought out. Others have voices, and nothing besides—"Vox et praetera nihil."
27Many, indeed most singers think they are called, but few find that they are chosen. Of course, voice is necessary. We all remember Rossini's three essentials for a singer: "First, voice; second, voice, and third, voice." That was doubtless true then, but more is required in this day, and in this city, than ever before in any other part of the world, with the single exception of Covent Garden, London, where the conditions are practically the same.
29Besides a beautiful voice, a high order of intelligence must exist if a singer is to extend his sphere of operations beyond a limited circle of roles. The same may be said of the necessity for the acquisition of the various languages in which song is usually heard, not forgetting our own, while nowadays the singer who is not also a good actor is almost unwelcome to our audiences.
31But to come to the general principles of the art of singing. I say in the language of the advice of "Punch" to those about to marry—"Don't." Not because you can't, but because the game is not worth the candle to most of you.
33The violinist is taught how to hold his fiddle and his bow; he is taught the positions and the fingering. There are certain mechanical means which cannot by any means be dispensed with. But this mechanism must be so learned as to become second nature. With the singer, however, carelessness seems to be first nature, and second nature may go hang! What, to the average pupil of singing, is looseness of jaw, tongue, play of lips, resonance of nasal passage, muscular control of the soft palate, and above all, control of breath?
35Breathing seems to be the especial stumbling block for both master and pupil alike. However, it is to the singer what the bow arm is to the violinist—absolutely essential where any real work is expected.
37Jenny Lind, whom I personally knew when she was an aged lady, had no patience with the new fangled deep breathing. She said the chest was made for that purpose, and acted accordingly, and wonderful in her prime was her breath control. There was never a doubt of that; but the public of fifty or sixty years ago thought little of those matters. The voice was all with them, and we have only to take a rapid glance at the condition prevalent then to recognize how enormously our own field of operations has broadened. We must act accordingly. Singers were Jenny Lind's and Pattis—or they were not, just as now they are Melbas and Tetrazzinis, or they are not; but that was for the one kind of singing that generally prevailed at that time. Now there are so many other kinds, and the requirements of the stage are so vast, that while a Sembrich will cover a wide space, a Lilli Lehmann will overlap a large part of that, and cover new ground in other directions. Yet they all must, and do, sing after one fashion or another, to the great satisfaction of the public, which admires this or that school of music in which they prefer to hear their favorites.
39Mary Garden can do what Madame Ternina would not attempt; or a notable talent like Geraldine Farrar will astonish by its youthful versatility, till one wonders what limit, except rules requiring vocal avoiduposis, there may be to such a gift. Each in her own way must, however, in learning how to sing, best demonstrate such phases of her art as she has adopted as her specialty. one of two readings
40Mary Garden can do what Madame Ternina would not attempt; or a notable talent like Geraldine Farrar will astonish by its youthful versatility, till one wonders what limit, except rules requiring vocal avoiduopos, there may be to such a gift. Each in her own way must, however, in learning how to sing, best demonstrate such phases of her art as she has adopted as her specialty. one of two readings
42It would be interesting to know the vocal processes of the voice education of a Caruso. Maybe he just sang, as so many of his countrymen do. We never heard of Caruso during his years of work at home, or in St. Petersburg, or in South America. Yet the same voice was there, and the illuminating grace of experience has in these latter days made him a name by which he will be remembered for generations. Even in his case, however, let no pupil think that it has been all play—all beer and skittles.
44Tamagno was another type of great voice which came to its own by its own methods. No master could teach him much of voice culture. Vanucci said he "bleated like a goat," and told him so. His musical education, notwithstanding his enormous vogue in "Otello" and other Italian operas, where volume of voice was the principal requisite, was so limited that, to my knowledge, when he was engaged to sing a performance of Rossini's "Stabat Mater," in Florence, he not only did not know the music, but had never even heard of it before! He sang it, however, with the greatest success, no such effect having been created by any singer in my experience of oratorio as in his rendering of the "Cujus Animam."
46Jean de Reszke was of the stuff that I would like to see more tenors and all other singers made of. His career was the outcome of sheer intelligence.
48The first of the general principles I take to be breath, which I hold to be the Al ha and Omega of song, the middle and both ends of the art. By "art" I mean not only that of singing, but of speaking, whether from the platform or the pulpit, at the bar or upon the stage.
50Among the general principles there are two which are positive in their negative quality: Don't smoke, and don't drink. No singer should do either, as each is harmful to the vocal organs, and consequently to the voice itself.
52Among the numerous general principles which are so obvious after all that attention scarcely need be called to them, there is one thing about singing which is true beyond all peradventure. That is, that there is only one way to sing, and that is the right way.
54Were we all made alike, we would all sing alike. As a matter of fact, we are all made alike only up to a certain point, and on general principles. Through ages nature has formed Italians so that it is plain to the eye that a man or woman is an Italian, and upon hearing an Italian sing without seeing him, you would say: "Oh! that's an Italian's voice." The same is applicable to Germans, French and English.
56I am at a loss to know how more particularly, within the time at our disposal this evening, to enter into the subject of the general principles of the art of singing than to insist upon the utmost clarity of explanation to the pupil of the various points touched upon, for what can be more puzzling to the beginner than to be told by one whom he considers an authority, and who has explained himself—if the expression may be used—by means of strange gestures, that the song must come from the pit of the stomach, or the back of the head, or that it must float, or that it must emerge from his larynx, as if it were strips of paper being drawn from the mouth of the prestidigitator? I beg of those who may have found some benefit in using any of these mysterious movements to do so as sparingly as possible if they would avoid mystifying the pupils still further over an already sufficiently complicated attainment, and I would beg them on general principles to settle down with good common sense to find out, not what they can hammer into the comprehensions of their pupils, but how clearly to elucidate the subject so that what is in the pupil may be brought out. This is the true meaning of education. The word training presupposes the existence of something capable of being trained; if that is not there all is in vain.
58With all the teacher's insistence upon correct deportment, how to breathe, how to hold the shoulders and chest, how to avoid contortions of the face, stiffening of the neck and jaw, how to pronounce, how to make use of the nasal cavities, there is only one object after all in the teaching of singing, and that is to teach singers to sing, and to rigidly exclude those for whom there is no reasonable hope of success. In other words, to "separate the sheep from the goats." Let the former enter into all the joys that await them. Let the latter be ruthlessly consigned to outer darkness.
60All that I have said is necessarily incomplete, because the subject is such a vast one. I would be glad, however, if, before I leave, any of those present would ask me any questions that may occur to them, and I will do my best to make a fitting reply.
62Madame von Klenner, Dr. De Guichard, Mr. Harris and Chairman Klein added comments, all of them endorsing the statements made by the distinguished speaker of the meeting.
64Pupils for Europe.
66There was noticed among the advertisements of the New York Herald last Sunday the following:
68VOCAL PUPILS IN EUROPE.
69MR. HERMANN KLEIN
70begs to announce that he will accept a limited number of pupils for vocal study in London during May, June, July and early August.
72American pupils accompanying Mr. and Mrs. Klein to Europe will enjoy the advantage of personal care throughout the trip, besides hotel facilities, visits to Covent Garden and other entertainments at the height of the London season. A fortnight's stay in Paris will follow, including visits to Grand Opéra, Opéra Comique, &c.
74Lessons will be planned to suit individual requirements. For particulars address Mr. HERMANN KLEIN, 154 West 77th St., N. Y.
76These who want to get a real benefit out of a trip to Europe, in connection not only with the vocal studies, but through the intimate relations that Hermann Klein bears to the European musical and operatic field, should take advantage of this proposition if it is at all possible. This trip of Mr. and Mrs. Klein to Europe, together with American pupils, will be of great benefit in many directions, for it represents a splendid musical culture for the time being, besides the general culture that will attach to it.
78New York Trio Concert.
80The second concert by the New York Trio at Mendelssohn Hall, Saturday night of last week, proved, if anything, more artistic than the first given earlier in the season. The players, Paolo Gallico, piano; Henry Bramsen, cello, and Alexander Saslavsky, violin, are each gifted with the temperament that is equal to elevating ensemble music to the highest plane of delight. The Haydn trio in D major revealed the artists at their best in the performance of a gem, perfect in outline and theme. The Beethoven sonata for piano and cello, in A major, op. 69, was played in masterly style by Messrs. Gallico and Bramsen. It was a strong and truly masculine performance. The Arensky trio in D minor, so striking in contrast to the other numbers, aroused perhaps the greatest enthusiasm, and the performers merited all the appreciation. Although Saturday was a night of musical sensations in other auditoriums, the members of the Trio were greeted by a large audience, made up of men and women who understand and love music. The Trio will give more concerts next season.
82Macmillen at Saint Clara College.
84SHEBOYGAN, Wis., March 26, 1908.
86Francis Macmillen, the gifted American violinist, played here yesterday (March 25), under the auspices of Saint Clara College. Rosina van Dyk, soprano, and Richard Hageman, pianist, assisted in the program. Macmillen played one movement from the Paganini concerto in D minor; the adagio from the familiar Ries suite; a Hungarian dance, by Lederer; Schumann's "Traumerei"; "Saltarello Caprice," by Randegger; "Ave Maria," by Schubert; "Hungarian Dance," Brahms-Joachim; "Aziola," by Blake; "Witches' Dance," Paganini; andante and finale from the Mendelssohn concerto.
88Dufault's Engagements.
90Paul Dufault, tenor, is experiencing his best season, having filled many engagements in Greater New York and elsewhere. He has sung for the Rubinstein, Euterpe, Eclectic and Harlem Philharmonic Clubs, proving himself a favorite at these, where women make up the audiences. March 27, he sang at New Brunswick; March 29, Yonkers; April 5, soloist at St. George's P. E. Church; April 7, soloist, Sterling Piano Company, Brooklyn; April 9, Plainfield; April 23, Sterling Piano Company, Brooklyn.
92August Walther's piano recital at Adelphi College, Wednesday night of last week, was attended by many students and admirers of the artist. Mr. Walther is always a serious and musicianly artist. He played works everybody likes, including some Liszt transcriptions for the Mendelssohn "Wedding March," and "Spinning Song" from "The Flying Dutchman."
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