“O The Project Gutenberg EBook of Style in Singing, by W. E. Haslam This eBook is for the use of anyone anywhere at no cost and with almost no restrictions whatsoever. You may copy it, give it away or re-use it under the terms of the Project Gutenberg License included with this eBook or online at www.gutenberg.org Title: Style in Singing Author: W. E. Haslam Release Date: May 9, 2007 [EBook #21400] Language: English Character set encoding: ISO-8859-1 *** START OF THIS PROJECT GUTENBERG EBOOK STYLE IN SINGING *** Produced by David Newman, Chuck Greif, Linda Cantoni, and the Online Distributed Proofreading Team at http://www.pgdp.net Transcriber’s Note: This e-text contains musical symbols, which may appear as boxes in some browsers. Hover the mouse over the box for a pop-up text explanation of the symbol, e.g., G♯. Click on the [Listen] link below the music illustrations to hear the music. TO MY PUPILS STYLE IN SINGING BY W.E. HASLAM Contents NEW YORK: G. SCHIRMER 1911 Copyright, 1911 By G. SCHIRMER 22670 PREFATORY NOTE F making many books there is no end.” Surely, the weary observation of the sage must have an especial application to the literature of Song. [Pg v] I One could not number the books—anatomical, physiological, philosophical—on the Voice. A spacious library could easily be furnished with “Methods” of Singing. Works treating of the laws governing the effective interpretation of instrumental music exist. Some of them, by acknowledged and competent authorities, have thrown valuable light on a most important element of musical art. Had I not believed that a similar need existed in connection with singing, this addition to vocal literature would not have been written. In a succeeding volume on “Lyric Declamation: Recitative, Song and Ballad Singing,” will be discussed the practical application of these basic principles of Style to the vocal music of the German, French, Italian and other national schools. W.E. HASLAM. 2, rue Maleville, Parc Monceau, Paris, July, 1911. INTRODUCTION N listening to a Patti, a Kubelik, a Paderewski, the reflective hearer is struck by the absolute sureness with which such artists arouse certain sensations in their auditors. Moreover, subsequent hearings will reveal the fact that this sensation is aroused always in the same place, and in the same manner. The beauty of the voice may be temporarily affected in the case of a singer, or an instrument of less æsthetic tone-quality be used by the instrumentalist, but the result is always the same. What is the reason of this? Why do great artists always make the same effect and produce the same impression on their public? Why, for instance, did the late Mme. Tietjens, when singing the following passage in Handel’s Messiah, always begin with very little voice of a dulled quality, and gradually brighten its character as well as augment its volume until she reached the high G♯ which is the culmination, not only of the musical phrase, but also of the tremendous announcement to which it is allied? For now is Christ risen [Listen] This last tone was delivered with the full force and brilliance of her magnificent voice, and was prolonged until the thrill produced in the listener became almost painful in its intensity. Again I ask, why did this world-famous singer perform this passage always in the same way? Unreflecting people may reply vaguely that it was because the artist “sang with expression.” But what constitutes “expression” in singing? No great artist—no matter what the vehicle or medium through which his art finds manifestation —does anything at random. “The wind bloweth where it listeth” only in appearance; in reality, it is governed by immutable law. Similarly, the outward form of an art is only apparently dictated by caprice and freedom from rule. The effective presentation of every art is based on well-defined and accepted principles. And it is with the earnest desire to throw light on this most important phase of vocal art, that I present the principles of “Style in Singing.” CONTENTS PAGE [Pg vii] [Pg viii] [Pg ix] I G Prefatory Note v Introduction vii Chapter I: Elements of Vocal Training 1 Emission of Voice 2 Chapter II: The Value of Technique 7 Chapter III: Analysis of Style 12 Colour 14 Accent 21 Intensity 27 Phrasing 32 Portamento 37 Variations of Tempo 41 Chapter IV: Tradition 44 Pointage 61 Chapter V: Répertoire 91 Chapter VI: Conclusion 98 STYLE IN SINGING CHAPTER I Elements of Vocal Training F the practical education of the singer be analyzed, it will be found to comprise four fundamental elements: (1) POSE: or Emission of voice; (2) TECHNIQUE: or the discipline of the voice considered as a musical instrument; (3) STYLE: or the application of the laws of artistic taste to the interpretation of vocal music; (4) RÉPERTOIRE: or the choice, in the literature of vocal music, of works most suited to the voice, temperament and individuality of the particular singer. I have classed these four elements in their relative order. They are, however, of equal importance. Until the Pose and Technique of a voice are satisfactory, attempts to acquire Style are premature. On the other hand, without Style, a well-placed voice and an adequate amount of Technique are incomplete; and until the singer’s education has been rounded off with a Répertoire adapted to his individual capabilities, he is of little practical use for professional purposes. EMISSION OF VOICE REAT natural gifts of temperament and originality may, and sometimes do, mask defects of emission, particularly in the case of artists following the operatic career. But the artistic life and success of such a singer is short. Violated Nature rebels, and avenges herself for all infractions of law. A voice that is badly produced or emitted speedily becomes worn, and is easily fatigued. By an additional exertion of physical force, the singer usually attempts to conceal its loss of sonority and carrying-power. The consequences are disastrous for the entire instrument. The medium—to which is assigned the greater [Pg 1] [Pg 2] portion of every singer’s work—becomes “breathy” and hollow, the lower tones guttural, the higher tones shrill, and the voice, throughout its entire compass, harsh and unmanageable. In view of its supreme importance, it is scarcely necessary to dwell upon the self-evident fact that this foundation—Emission, or Placing of the voice—should be well laid under the guidance of a skilled and experienced singing-teacher. Nothing but disappointment can ensue if a task of such consequence be confided, as is too frequently the case, to one of the numerous charlatans who, as Oscar Commettant said, “are not able to achieve possibilities, so they promise miracles.” The proper Classification, and subsequent Placing, of a voice require the greatest tact and discernment. True, there are voices so well- defined in character as to occasion no possible error in their proper Classification at the beginning of their studies. But this is not the case with a number of others, particularly those known as voices of mezzo-carattere (demi-caractère). It requires a physician of great skill and experience to diagnose an obscure malady; but when once a correct diagnosis is made, many doctors of less eminence might successfully treat the malady, seeing that the recognized pharmacopœia contains no secret remedies. Let the student of singing beware of the numerous impostors who claim to have a “Method,” a sort of bed of Procrustes, which the victim, whether long or short, is made to fit. A “method” must be adapted to the subject, not the subject made to fit the method. The object of all teaching is the same, viz., to impart knowledge; but the means of arriving at that end are multiple, and the manner of communicating instruction is very often personal. To imagine that the same mode of procedure, or “method,” is applicable to all voices, is as unreasonable as to expect that the same medicament will apply to all maladies. In imparting a correct emission of voice, science has not infrequently to efface the results of a previous defective use, inherent or acquired, of the vocal organ. Hence, although the object to be attained is in every case the same, the modus operandi will vary infinitely. Nor should these most important branches of Classification and Production be entrusted—as is often the case—to assistants, usually accompanists, lacking the necessary training for a work requiring great experience and ripe judgment. To a competent assistant may very properly be confided the preparation of Technique, as applied to a mechanical instrument: All violins, for instance, are practically the same. But voices differ as do faces. The present mania for dragging voices up, and out of their legitimate tessitura, has become a very grave evil, the consequences of which, in many instances, have been most disastrous. Tolerable baritones have been transformed into very mediocre tenors, capable mezzo-soprani into very indifferent dramatic soprani, and so on. That this process may have answered in a few isolated cases, where the vocal organs were of such exceptional strength and resistance as to bear the strain, is by no means a guarantee that the same results may be obtained in every instance, and with less favoured subjects. The average compass in male voices is about two octaves minus one or two tones. I mean, of course, tones that are really available when the singer is on the stage and accompanied by an orchestra. Now, a baritone who strives to transform his voice into a tenor, simply loses the two lowest tones of his compass, possibly of good quality and resonance, and gains a minor or major third above the high G (sol) of a very poor, strained character. The compass of the voice remains exactly the same. He has merely exchanged several excellent tones below for some very poor ones above. I repeat, one who aspires to be a lyric artist requires the best possible teacher to guide his first steps; he may consult an inferior or incompetent professor, when so firmly established in the right path that he cannot possibly be led astray. It is a common belief that singing-teachers of reputation do not care to occupy themselves with voice- production, or are unable to teach it. This is a serious error. A competent professor of singing is as capable of imparting the principles of this most important branch, as of directing the more æsthetic studies of Style and Répertoire. All the really great and illustrious singing-masters of the past preferred to “form” the voices of their pupils. To continue and finish a predecessor’s work, or to erect a handsome and solid structure on defective foundations, is always a difficult task; sometimes an impossible one. Then, as regards the pupil, particularly one studying with a view to a professional career, a defective preparatory training may eventually mean serious material loss. The money and time spent on his vocal education is, in his case, an investment, not an outlay; the investment will be a poor one, should it be necessary later to devote further time and expend more money to correct natural defects that ought to have been corrected at the beginning of his studies, or to eradicate faults acquired during their progress. Furthermore, the purpose of some part of a singer’s preliminary education is to strengthen and fit the voice for the exacting demands of a professional career. As the training of an athlete—rower, runner, boxer, wrestler—not only perfects his technical skill, but also, by a process of gradual development, enables him to endure the exceptional strain he will eventually have to bear in a contest, so some of a singer’s early studies prepare his voice for the tax to which hereafter it will be subjected. If those studies have been insufficient, or ill-directed, failure awaits the débutant when he presents himself before the public in a spacious theatre or concert-hall and strives, ineffectually, to dominate the powerful sonorities of the large orchestras which are a necessity for modern scores. A sound and judiciously graduated preparatory training, in fact, is essential if the singer would avoid disappointment or a fiasco. [Pg 3] [Pg 4] [Pg 5] [Pg 6] B The vocal education of many students, however, is nowadays hurried through with a haste that is equalled only by the celerity with which such aspirants for lyric honours return to obscurity. CHAPTER II The Value of Technique RIEFLY defined, the singer’s Technique may be said to consist principally of the ability to govern the voice in its three phases of Pitch, Colour, and Intensity. That is, he must be able to sing every note throughout the compass of the voice (Pitch) in different qualities or timbres (Colour), and with various degrees of power (Intensity). And although the modern schools of composition for the voice do not encourage the display of florid execution, a singer would be ill-advised indeed to neglect this factor, on the plea that it has no longer any practical application. No greater error is conceivable. Should an instrumental virtuoso fail to acquire mastery of transcendental difficulties, his performance of any piece would not be perfect: the greater includes the less. A singer would be very short-sighted who did not adopt an analogous line of reasoning. Without an appreciable amount of agilità, the performance of modern music is laboured and heavy; that of the classics, impossible. In fact, virtuosity, if properly understood, is as indispensable to-day as ever it was. As much vocal virtuosity is required to interpret successfully the music of Falstaff, in Verdi’s opera, as is necessary for Maometto Secondo or Semiramide by Rossini. It is simply another form of virtuosity; that is all. The lyric grace or dramatic intensity of many pages of Wagner’s music-dramas can be fully revealed only through a voice that has been rendered supple by training, and responsive to the slightest suggestion of an artistic temperament. In short, virtuosity may have changed in form, but it is still one of the cornerstones of the singer’s art. An executive artist will spare no pains to acquire perfect technical skill; for the métier, or mechanical elements of any art, can be acquired, spontaneous though the results may sometimes appear. Its primary use is, and should be, to serve as a medium of interpretation. True, virtuosity is frequently a vehicle for personal display, as, notably, in the operas of Cimarosa, Bellini, Donizetti, and the earlier works of Rossini and Verdi. At its worst, however, it is a practical demonstration of the fact that the executant, vocal or instrumental, has completely mastered the mechanical elements of his profession; that, to use the argot of the studios, “il connaît son métier” (he knows his trade). Imperfect technique, indeed, is to be deprecated, if merely for the reason that it may debar a singer from interpreting accurately the composer’s ideas. How seldom, if ever, even in the best lyric theatres, is the following passage heard as the composer himself indicated: Plus blanche, Les Huguenots: Act I, Meyerbeer [Listen] or the concluding phrase of “Celeste Aida” (in Aida, Act I), as Verdi wrote it and wished it to be sung: un trono vicino al sol [Listen] [Pg 7] [Pg 8] [Pg 9] W At present the majority of operatic tenors, to whom are assigned the strong tenor (fort ténor) rôles, can sing the higher tones of their compass only in forte, and with full voice. Thus an additional and very charming effect is lost to them. Yet Adolphe Nourrit, who created the rôle of Raoûl in Les Huguenots, sang, it is said, the phrase as written. The late Italo Campanini, Sims Reeves, and the famous Spanish tenor Gayarré, were all able to sing the music [Listen] mezza voce, by a skilled use of the covered tones. I do not ignore the fact that cases occur where artists, owing to some physiological peculiarity or personal idiosyncrasy, are unable to overcome certain special difficulties; where, indeed, the effort would produce but meagre results. But such instances are the exception, not the rule. The lyric artist who is gifted merely with a beautiful voice, over which he has acquired but imperfect control, is at the mercy of every slight indisposition that may temporarily affect the quality and sonority of his instrument. But he who is a “singer” in the real and artistic sense of the word, he who has acquired skill in the use of the voice, is armed at all points against such accidents. By his art, by clever devices of varied tone-colour and degrees of intensity, he can so screen the momentary loss of brilliance, etc., as to conceal that fact from his auditors, who imagine him to be in the possession of his normal physical powers. The technical or mechanical part of any art can be taught and learned, as I have said. It is only a case of well-guided effort. Patience and unceasing perseverance will in this, as in all other matters, achieve the desired result. Nature gives only the ability and aptitude to acquire; it is persistent study which enables their possessor to arrive at perfection. Serious and lasting results are obtained only by constant practice. It is a curious fact that many people more than usually gifted arrive only at mediocrity. Certain things, such as the trill or scales, come naturally easy to them. This being the case, they neglect to perfect their agilità, which remains defective. Others, although but moderately endowed, have arrived at eminence by sheer persistence and rightly directed study. It is simply a musical version of the Hare and the Tortoise. But we must make a great distinction between the preliminary exercises which put the singer in full possession of the purely mechanical branch of his art (Technique), and the æsthetic studies in Taste and the research for what dramatic authors call “the Science of Effect,” or Style. The former must be thoroughly accomplished, otherwise the latter cannot be undertaken satisfactorily. A good and reliable technique is undoubtedly of primary necessity. But it is by no means all. One may have a voice which is well-posed and of good resonance, and also have sufficient flexibility to perform neatly all the rapid passages with which the pages of the classic composers abound. But this is not singing; nor is the possessor of these an artist. He has simply the necessary and preliminary knowledge which should enable him to become one, by further study of the æsthetic side of the art of singing. He has, as it were, collected the materials necessary for the erection of a splendid edifice, and has now to learn the effective means of combining them. So, when the voice is “formed,” a frank and easy emission obtained, a sufficiency of Technique acquired, the next step in the singer’s education is the practical study of the problem of Style. CHAPTER III Analysis of Style HAT is Style? In reality the question is two-fold. One may have Style; and one may have a style. The former is general; the latter individual. The former can be taught and learned, for it is based on certain well-defined rules; the latter is personal—in other words, is not universally applicable. Not infrequently it is a particular application of those rules which gives the impress of originality. But correct taste must first be [Pg 10] [Pg 11] [Pg 12] O formed by the study of the noblest creations in the particular art that claims attention. In singing, as in the sister arts, the laws which govern Style must be apprehended and understood before Individuality can be given full scope. Otherwise, what to the executant would appear as original might, to correct taste and judgment, appear ridiculous and extravagant. A genius is sometimes eccentric, but eccentricity is not genius. Vocal students should hear as many good singers as possible, but actually imitate none. A skilled teacher will always discern and strive to develop the personality of the pupil, will be on the alert to discover latent features of originality and character. He will respect and encourage individuality, rather than insist upon the servile imitation of some model—even though that model be himself. As the distinguished artist Victor Maurel has justly observed: “Of all the bad forms of teaching singing, that by imitation is the worst” (Un Problème d’Art). In singing, as in painting, a copy has never the value of the original. Moreover, slavish imitation in any art has a deleterious influence. But to respect irreproachable examples and fitly observe sound rules, whose very survival often justifies their existence and testifies to their value, is always of benefit to the artist. To imitate is to renounce one’s individual expression of an ideal and present that of another. But to observe established and accepted laws, laws founded on Truth and consecrated by Time, is not to imitate, when those laws are applied in an original and individual manner that is in harmony with the personality of the interpreter. “L’art est un coin de Nature vu à travers un tempérament.” In literature, each writer has his own special style which may easily be recognized; but all follow the same grammatical rules. A correct style in singing consists in the careful observance of the principles of Technique; a perfect Diction; the appropriate Colouring of each sentiment expressed; attention to the musical and poetic Accents; judicious and effective Phrasing (whether musical or verbal), so that the meaning of both composer and poet may be placed in the clearest light. Let us analyze Style in its three principal aspects: Colour, Accent, and Phrasing. COLOUR F all the elements of Style in singing, the most potent and effective—the one, indeed, that is essential for the success of the lyric artist—is the ability to vary the vocal timbre; that is, to sing with Colour. This desideratum of varied tone-colour is sought even by instrumentalists. Nay, the instrument itself is sometimes constructed with this object in view. Witness the invention of the “soft” pedal, which is intended not solely to reduce the intensity of tone in the pianoforte—that may be accomplished by a modification of force in striking the note—but to give the tones a darker, more sombre quality, or colour. To vary the tone-colour, a violinist or ’cellist draws the bow across the strings close to, or distant from, the bridge, in accordance with his desire for a reed-like or flute-like quality of tone. Anyone who has listened to the performance of the slow movement in Paganini’s Concerto in D, by an Ysaye or a Mischa Elman, will have remarked how the skilful use of varied tone colour and other devices imparts a wonderful charm to music intrinsically of but mediocre value. A singer may have a good quality of voice; but that is normal. If he can vary it only in degrees of loudness (Intensity) and not in differences of timbre (Colour) he cannot be ranked as an artist. No matter how great the natural beauty and sonority of his voice, his performance will always be monotonous, if he has only one tint on his vocal palette. In speech—from which the effect is borrowed—utterances of grave and serious meaning, and those of gayer import, are not made with the same colour of voice. A brighter quality (voix claire) is used instinctively for an ejaculation uttered by one to whom pleasant or joyful news has been communicated. On the contrary, should it be the cause of sorrow or grief for the listener, he will use—should he have occasion to reply—a darker quality of voice (voix sombre). Such phenomena are physiological. The vocal organs are the most sensitive of any in the human economy: they betray at once the mental condition of the individual. Joy is a great tonic, and acts on the vocal cords and mucous membrane as does an astringent; a brilliant and clear quality of voice is the result. Grief or Fear, on the other hand, being depressing emotions, lower the vitality, and the debilitating influence communicates to the voice a dull and sombre character. On this question of colour in the voice, the masterly writer and critic Legouvé says: “Certain particular gifts are necessary if the speech is to possess colour. The first of these is Metal in the voice. He who has it not will never shine as a colourist. The metal may be gold, silver or brass; each has its individual characteristic. A golden voice is the most brilliant; a silvery voice has the most charm; a brassy voice the most power. But one of the three characteristics is essential. A voice without metallic ring is like teeth without enamel; they may be sound and healthy, but they are not brilliant.... In speech there are several colours—a bright, ringing quality; one soft and veiled. The bright, strident hues of purple and gold in a picture may produce a masterpiece of gorgeous colouring; so, in a different manner, may the harmonious juxtaposition of greys, lilacs and browns on a canvas by Veronese, Rubens, or Delacroix. [Pg 13] [Pg 14] [Pg 15] [Pg 16] “Last of all is the velvety voice. This is worthless if not allied with one of the three others. In order that a velvety voice may possess value it must be reinforced (doublée) with ’metal.’ A velvety voice is merely one of cotton.” It may be of interest to notice that the quality which in France is designated “timbre,” is called by the Italians “metallo di voce,” or, “metal of the voice.” Those who heard Madame Sarah Bernhardt fifteen or twenty years ago will readily understand why her countless friends and admirers always spoke of her matchless organ as “la voix d’or.” The late Sims Reeves, the famous tenor, was a perfect master of all varieties and shades of vocal colour, and displayed his mastery with certainty and unfailing effect in the different fields of Oratorio and Opera. In the recitative “Deeper and deeper still,” with its subsequent aria “Waft her, angels, through the skies” [Handel], he ranged through the entire gamut of tone-colour. As Edgardo in Donizetti’s Lucia di Lammermoor, he launched the “Maladetta” phrase of the curse with a voice that was almost “white” with frenzied rage; while the pathetic sombre quality he employed in the “Fra poco a me ricovero” fitly accorded with the despairing mood and gloomy surroundings of the hapless Edgardo. Some singers control but two colours or timbres—the very clear (open) and the very sombre (closed), which they exaggerate. In reality, however, the gradations between them can be made infinite by the artist who is in possession of the secret—especially if he has the ability to combine Colour with Intensity. An illustration of this is found in the example cited in the opening paragraph of the present work:—“For now is Christ risen.” Not only did Mme. Tietjens make a gradual crescendo from the first note to the climax, but the tonal colours were also subtly graduated from a comparatively sombre quality to one of the utmost clearness and brilliance. For now is Christ risen [Listen] As contrasting examples in which the two principal colours may be employed effectively, I may cite the Bacchic air, “Ô vin, dissipe la tristesse,” and the pensive monologue, “Être, ou ne pas être,” both from the opera Hamlet, by Ambroise Thomas. The forced, unnatural quality of the first calls for the use of a clear, open, brilliant timbre. Ô vin, dissipe la tristesse [Listen] But for the second, “To be, or not to be”: Être, ou ne pas être [1] [Pg 17] [Pg 18] [Listen] a sombre, closed timbre is necessary. The opening recitative of Vanderdecken in Der fliegende Holländer by Wagner would be absurd, and utterly out of harmony with the character and his surroundings, if sung in the open timbre. Perhaps I ought to explain that “open” (voix claire, Fr.), and “closed” (voix sombre, Fr.), are technical terms, of which the equivalents are accepted in all countries where the art of singing is cultivated; terms that apply to quality of tone, not to the physical process by which these effects are produced. Such a mistake is not infrequently made by vocal physiologists who are not practical musicians or singing-teachers. Nor must the term “clear timbre” be understood to mean the “white voice” (“voix blanche,” or “voce bianca”); this, like the guttural timbre, being only occasionally employed for the expression of some violent passion, such as hate. Like the admirable paintings of Eugène Carrière, for instance his masterly portrait of Paul Verlaine, a song, sometimes an entire rôle, may be worked out in monochrome; though the gradations of tint are numerous, they are consistently kept within their preconceived colour-scheme. Some few exceptional singers, like Jean-Baptiste Faure or Maurice Renaud, have this gift of many shades of the one colour in their singing of certain rôles. The colour is determined by the psychological character of the personage portrayed; a gay, reckless Don Giovanni calls for a brighter colouring throughout than that necessitated by the music allotted to a gloomy Vanderdecken or an embittered and vengeful Rigoletto. One may, therefore, formulate the following rule: The general character of the composition will decide the tonal colour appropriate for its general interpretation; the colouring necessary for its component phrases will be determined by the particular sentiment embodied in them. Emotions like sorrow, fear, despair, will find fitting expression in the sombre quality of voice, graduated in accordance with the intensity of the emotion. The opposite sentiments of joy, love, courage, hope, are fittingly interpreted by gradations of the clear and brilliant timbre. The dark or sombre voice will be used in varying shades for the recitative from Samson (Handel), “Oh, loss of sight:” Oh, loss of sight, of thee I most complain! [Listen] while the clearest and most brilliant timbre possible to be obtained is plainly indicated for the same composer’s “Sound an alarm!” from Judas Maccabæus. Sound an alarm, your silver trumpets sound! [Listen] It was a rule formulated by the old Italian school of singing, when l’arte del bel canto in its true sense did really exist, that no phrase—musical or verbal—should be repeated with the same nuances. Very many instances might be given of the happy effect obtained by observing this rule. One will suffice. It is taken from the Lamento of Queen Catherine (of Aragon), who, slighted by Henry VIII. for Anne Boleyn, sighs for her native Spain. Lamento, Henri VIII: Act IV, Saint-Saëns [Listen] Sudden contrasts of colour are of great dramatic effect. A good illustration is found in the air “Divinités du Styx,” from Gluck’s Alceste. This contrast is still further heightened by a sudden change of both Intensity and Tempo. [Pg 19] [Pg 20] [Pg 21] I Divinités du Styx [Listen] This last phrase, “Ministres de la mort!” should be sung in a very sombre voice of almost guttural character. It is, indeed, in the recitatives and declamatory passages of Gluck, Handel, Sacchini, that lyric artists will find unsurpassable material for study. Requiring, as such works do for their perfect interpretation, all the resources of Colour, Accent, and Phrasing, such study is the best possible preparation for the fitting musical presentment of the lyric drama in some of its later phases. Colour, then, is the basic element of Style in singing. It is reinforced by Accent, which, as the name implies, is the accentuation of details that require to be brought into prominence. This subject, therefore, next claims attention. ACCENT N singing, two kinds of accent are recognized, the Musical accent, and the Poetic, or Verbal, accent. The first appertains to the domain of sound; the second, to the domain of significance. The first, for æsthetic reasons, throws into relief certain tones of a musical phrase; the second brings into prominence the sentiment underlying the poem or text. Note, also, that in spoken declamation, accent applies to a syllable only; in singing, the verbal accent affects an entire word. In its relation to Style, the Musical accent must be carefully distinguished from the Metrical accent which is determined by Time, or Measure, as well as from the Verbal accent whereby the import of a word is rendered clear to the listener. Here is an example of Musical accent, from Act III of Verdi’s Ballo in Maschera: Saper vorreste di che si veste quando l'è cosa ch'ei vuol nascosa [Listen] The accents (marked thus ) give to the musical phrase a piquancy that is admirably in keeping with the gay and careless character of the page, Oscar, who sings it. In fact, as regards Style, Musical accent is particularly valuable in song for the purpose of setting forth the true character of the music. Hence, it may be regarded as a means of characterization. This use of accent for characterization is also quite distinct from its use with “accidentals,” or tones foreign to the prevailing tonality. In the former case, sentiment dictates its employment; in the second, the accent guarantees, as it were, the accuracy of the singer’s intonation. By the faint stress laid on the foreign tone, the listener is assured that the executant is not deviating from the true pitch. In the following examples, the tones marked are “accidentals,” and for that reason should receive a faint stress. The first example is from La Forza del Destino. [Pg 22] [Pg 23] Madre, Madre, pietosa Vergine, perdona al mio peccato, m'aita quell'ingrato [Listen] Je dis que rien, Carmen: Act III, Bizet [Listen] These different uses of accent are well illustrated in the following example. Come unto Him, Messiah, Handel [Listen] The tone allotted to the second syllable of the word “upon” is accentuated to affirm the accuracy of the singer’s intonation; the slight emphasis of the word “Him” brings into relief the meaning of the text. This latter, then, is an illustration of Verbal, or “Poetic” accent which, I repeat, throws into relief, without consideration of its musical value or position, some word of special significance in the verbal phrase. To render the poetic meaning of the text clear to the listener, a correct use of verbal accent is imperative. Its importance and effect, particularly in recitative and declamatory singing, are analogous to the importance and effect of emphasis in spoken language. The example is from Samson (Handel): O loss of sight, of thee I most complain [Listen] Here I may point out that in cantabile phrases the stream of sound, notwithstanding its division into syllables by the organs of articulation—lips, tongue, etc.—should pour forth smoothly and uninterruptedly. The full value of each tone must be allotted to the vowel; the consonants which precede or end the syllables are pronounced quickly and distinctly. In declamatory singing, on the contrary, the consonants should be articulated with greater deliberation and intensity. I know that my Redeemer liveth [Listen] Here an emphatic accent on the consonant “n” irresistibly suggests the idea of knowledge; that is, of absolute certainty, not of mere belief. Very frequently the metrical accent does not coincide with the syllabic accent: the musical accent will fall [Pg 24] [Pg 25] on an unaccented syllable, or vice versa. Particularly is this the case when the composer is not perfectly familiar with the rules that govern the prosody of the language to which he is setting music. In the operas of Meyerbeer many passages occur in which it is necessary to readjust the syllables to the notes on account of their misplaced accent. Here is an illustration from Hoël’s Grand Air in Le Pardon de Ploërmel (Meyerbeer), Act II. (Note that the tonic accent in French falls always on the last pronounced syllable.) Et ranimez, ranimez ma foi (as printed) [Listen] The error is easily remedied: Et ranimez, ranimez ma foi (should be sung) [Listen] In the contralto aria “He shall feed His flock,” in Handel’s Messiah, the unaccented word “shall” falls on the most strongly accented note of the bar. If performed thus, it would give a most aggressive character to the passage, implying that some one had previously denied the assertion. This would be entirely at variance with the consolatory and peaceful message that is contained in the text and shadowed forth in the music. He shall feed his flock like a shepherd [Listen] Instances of faulty syllabic accent abound in Handel’s works, both his English oratorios and his Italian operas. Many examples could be quoted. Here is a phrase from the beautiful air for mezzo-soprano sung by Ruggiero in the opera of Alcina. Verdi prati [Listen] In Mendelssohn’s Elijah, the following phrase is nearly always sung as written, unless the singer is familiar with the best traditions: [Pg 26] I Give me thy son! [Listen] It may be that the artists who slavishly follow the published text fear being accused of altering the composer’s music, or are ignorant of the fact that there exists a better version, which is this: Give me thy son! [Listen] It will be seen that the music is not changed in the least; the musical and verbal accents have been merely readjusted and made to coincide. In order to avoid the disagreeable effect of singing one half-bar andante to the syllable “si” (pronounced like “zee” in English), the following phrase of Marguerite de Valois in Les Huguenots (Meyerbeer), Act II, is changed thus: en aucun temps n'eût choisi mieux [Listen] INTENSITY N musical terminology every gradation of volume in sound, from the faintest to the loudest, enters into the category of Intensity. One of the accepted rules of the arte del bel canto was, that every sustained tone should be coloured by some graduation of intensity. Thus the ability to augment and diminish the volume of tone was so highly esteemed—indeed, so essential—that singers spent much time in acquiring the messa di voce, that is, the steadily graduated emission of tone from the softest degree to the loudest and again to the softest: p f p. This exercise invariably formed a part of each day’s study, and was practised on several vowels throughout the scale, except the extreme tones, save in rare instances. It was, in fact, indispensable that the singer should be able to colour every tone in three forms of graduated intensity: Soft to loud p f; loud to soft f p; and soft to loud and soft again p f p. This command of intensity, therefore, is invaluable. But it is even more effective when the artist has the power to combine the various gradations of Intensity with different shades of Colour; in other words, when he can sing a tone crescendo and diminuendo in the clear and sombre timbres. The passage, already cited, from Alceste’s great air in Gluck’s opera Alceste, furnishes an admirable illustration of the dramatic emotion created by a sudden contrast of Intensity as well as Colour. In the invocation “Ye ministers that dwell in night!” the clear timbre is used with gradually increasing volume until at the phrase (sung adagio) “Ministers of death!” the timbre changes abruptly to a sombre quality with sinister effect, which effect is augmented by being sung pp. [Pg 27] [Pg 28] [Pg 29] Gluck (Alceste: Act I) [Listen] A still more striking example of the impressive effect produced by sudden contrasts of intensity is offered in the magnificent air “Total Eclipse,” from Samson (Handel). In it, a judicious use of tone-colour, accent, and variations of tempo, all combine to elucidate in the highest possible degree the idea of both composer and poet: Sun, moon and stars are dark to me [Listen] The words “Sun, moon and stars” should be given strongly accentuated, and the tempo gradually accelerated. The repetition of the phrase should be sung with still greater intensity; then, at the passage “are dark to me,” the colour of the voice changes to one of very sombre quality, and the original tempo is resumed. The first consonant in the word “dark” should receive a slight stress. The crescendo has always been a favourite device of composers, particularly of those who write for the lyric theatre. It was an effect held in high esteem by Rossini, who introduced it constantly in his operas— witness his overtures and ensembles. All are familiar with the wonderful crescendo which precedes the appearance of the Knight of the Swan, in Lohengrin, where the sonorities are augmented by gradual additions of voices and instruments until the culminating point is reached. An instance more poignant still is found in the great “Liebestod” in Tristan und Isolde. Although Hérold, the French composer, observed that in working up to a climax one should begin a long way off, a singer must be careful not to reach his maximum of vocal sonority before the musical climax is attained. The tenor Duprez created a sensation that is historic, in the long crescendo passage in the fourth act of Guillaume Tell, by gradually increasing the volume of sound, as the phrase developed in power and grandeur, until the end, which he delivered with all the wealth of his exceptionally resonant [Pg 30] [Pg 31] P voice. Before closing this chapter on Intensity, I should advise singers whose voices possess great natural volume or power not to abuse this valuable quality by employing it too frequently. The ear of a listener tires sooner of extreme sonority than of any other effect. Talma, the great actor, wrought many reforms on the French dramatic stage, not only in costume—prior to his time Greek or Roman dress only was worn in tragedy—but also in the manner of delivering tragic verse. Against the custom, then prevalent, of always hurling forth long tirades at full voice, he inveighed in these terms: “Of all monotonous things, uproar is the most intolerable” (de toutes les monotonies, celle de la force est la plus insupportable). An artistic singer will use his most powerful tones, as a painter employs his most vivid colours, sparingly. PHRASING HRASING is simply musical punctuation. In singing, it may be separated, like accent, into two divisions: Musical and Poetic, or Verbal, phrasing. If the following passage were performed by an instrument, it would not require any particular grouping or phrasing: music [Listen] But when sung, it would fail in effect if not performed with a very slight pause after the word “nobis,” thus: Ave Maria, Luzzi [Listen] As another illustration of the excellent effect of correct phrasing may be cited the song Psyché, by Paladilhe. Its effect is heightened if the musical phrasing be judiciously combined with a change in Colour and Intensity: Quand il les flatte, j'en murmure! [Listen] (Should be sung): Quand il les flatte, j'en murmure! [Listen] It is the clashing of the Musical and Verbal phrasings that often makes translations of lyric works unsatisfactory. The two phrases are independent, not welded together. So far from being “Music wedded to immortal Verse,” these instances resemble those ménages wherein each unit leads a separate existence. When this is the case, the singer must decide as to whether the musical phrase, or the poetic [Pg 32] [Pg 33]