Scan 116
Voice and violin: sketches, anecdotes, and reminiscences by T.L. Phipson, 1898
10 lines. Read by computer on 3 September 2026. Printed page 98. See the scan on archive.org.
1harsh or husky, and less under control; besides which, there will be a feeling of powerlessness, especially in the lower register.
3It is evident that this results from a strain upon the nerves of the vocal organs during the performance of the instrumental music; and if such a practice were continued for any length of time, it would end by injuring the quality of the voice.
5Another reason why a would-be violin or piano virtuoso should never attempt to shine as a vocalist at the same time, resides in the fact that the public—the "ungrateful public"—will never give any one credit for being proficient in both. We have known more than one lady who has sometimes appeared in concerts both as a solo pianist and as a vocalist on the same evening, and very clever she undoubtedly may be; but people say, "Considering how well she plays, she sings wonderfully;" or, "Considering how well she sings, she plays wonderfully;" which is, at best, "damning with faint praise," as the saying goes.
7It is a well-known fact that people will never admit that the same person can acquire great eminence in any two branches of virtuosity, and nothing will ever induce the public to change its opinion—vox populi vox Dei!
9A curious fact occurs to me with regard to singing inwardly whilst playing. I have more than once noticed violinists of eminence who, on coming
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