Evening star. [volume] (Washington, D.C.) 1854-1972, 1855-11-07
EVENING STAR.
JENNY LIND ON VOCAL nusrc

Dwights Journal Of Music, published at
Boston, in which we always find sound views
on every branch Of art that it touches. con-
tains an article on vocal music, as taught In
modern times, in which it introduces an cx-
tract from a letter on the subject written by
Jenny Lind GoIdschmidt We COPY the Letter,
with the editors Introductory and concluding
remark:
The following are extracts from a pirate
letter. which we have had for three years in
our possession, and which We have hitherto
reiralned from making public, out of regard
TO the feelings of the writer. who, at that time
professionally before the world, naturally wish
ed to avoid all chances Of exposing herself to
misunderstanding and unpleasant feeling on
the part Of amateurs and ar';sts Of a school
different from her own. But we are sure that
no such ground for silence exists. and at all
events the good that must be done by such
most timely words from such q source. is
enough to plead here in extenuation Of pos
sible breaking of the seal of confidence. We
risk the sin, for it is of the letter only not the
spirit The remarks were written, al our owa
suggestion, In fuller explanation OF advice
given TO n talented young vocalist. who went
10 Europe Tor improvement in her art. We
copy, word for word, from her own autograph.
which, as piece of clear, vigorous and n
ungTaccIul English composition, is creditable
TO a woman of fine intellect
g If [ might be permitted to offer a SUI
sestion in regard to Miss -, it would be a
recommendation to her not to 60 to Italy, as
she has been advised by some friends to do.
My humble opinion is, that the recently
adopted method of Italian singing is not the
most natural and healthy. The proof thereof
Is, that we see only few singers in our days
that know how to preserve their voice hay-
ing once been in Italy, and there ACQUIRED
the habit of forcing more sound out of their
lungs tLan nature intended they should
never went to Italy myself from that
very reason. After having heard all the mod
ern Italian singers, l was well convinced that
my voice never would have been able TO pre-
serve ITS natural elasticity and its character of
high soprano, Ea1 I undertaken to ad9pt tie
same forced style of singing as is now a dars
almost unavoidable, in Italy, by the frequent
performance Of SignOr Verdi operas
Ills music Is the most dangerous for all SIM
ing artists, anu will continue so to be- until
the artists themselves viii better understand
thcir own Interests, as well as that of the
ooa4ty OF the art OF singing, and refuse t.
sacrifice themselves TO a composer, who by no
means ia lerStands the exquisite beauty Of
tae real Italian singing, that cannot be sur
passed by any other nation. Miss - will
lind both In London and in Paris N lsters fully
quaiihed To Instruct her IL all that is deemed
requisite; and in the former city Low lives
the most distinguished singing master. Mr..
Emanuel Garcia, who is, in my opinion, eIni
tly qualified to understand and TO devotion
her voice and talent.
- year residence in London or Paris
vii enable her to judge of the progress which
she has made, and also the pr0priety of after
wards spending six months or one year ia Ger
many, the land Ct real music, in which the
stamp OF art. Germany cftTs perhaps less
excellence tor the singer as q singer, for the
Herman language is very hard to prououucr
and often charges the character IF the souuG:
for inst nee, the quality Oftone inging cut
the Italian word Dolore, and Ie idcntic Ger
man word Schnertz, will be found quite iii-
icrcnt IN Its result AMI inf itely in favor Of
the former But-to wish - become a good
artist, with a good artiStical conscience. and
nOt know Germany aud Its musical masters,
would, indeed, DC as great loss to the artist
as II would to the public. before whom lie
ought to wish 10 give right impression.
know what Germany is to an artist
and, with all my veneration for the true tia,
Ian singing school, l really believe that, un-
less had taken the German music as the
ground work, my whole knowledge Of Italian
singing would have never satisfied me, and my
musical faculties would have been uGdeyei-
opcd and uufruitful.
- What | therefore wish 10 impress most
earnestly upon Miss IS mind is that she
would try to combine Italian song and German
music, the one being as necessary Is the other;
that she would try to avoid false pathgs, as
the same law exists TO its fullest extent, in art
as in life-that she be true to herself try ID
find out the beauty Of truth, As well in the
simplest song as in the most difficult aria--anl
the great secret is her 's-;he most powerful
protector against envy and malice will be on
her side "
These are words to be pOndered. They
are not one-sidsd, they are not unknd or pre-
Judiced. Observe, the writer fully admits the
paramount claims IF the true Italian school,
but doubts If the Italy of to-day be necessarily
the right place to find it. italian song and
German music'-there is the whole story in q
nutshell Form the voice, acquire the meth
od, learn the pure, the natural, cantibiIe.
from the good old Italian traditions, but at
the same time remember that in this century,
at all events, Germany is the land ST real
music become baptized in the spirit of the
great composers, the immOr tai Handels No
zdrts and BecthUYens, as well as of the Ros-
slnis, or in those days the still more questi0na-
BILE exclusive spirit Of the Donizettis and the