The Wheeling daily intelligencer. [volume] (Wheeling, W. Va.) 1865-1903, 1883-05-18
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A Few Words About Public Singing.
ChriaHMe NitsOn In Nsrth american RerieW.
To the public singer, more perhaps than
to any other artist, sympathetic apprecia.
ton, quickly and naturally manifested by
the audience, is everything. The painter
and the poet, il they have the courage that
comes from a complete consciousness OF
their peculiar gifts, may work on in the
solitude OF their studies, confident that
what one generation refuses TO consider an
other may give a rightiul place among the
immortal achievements of human genius
aud skill. The composer may be mis-.
understood, misinterpreted, neglected; but
his score survives him, and may yet be
rendered to an admiring world by some
musician who had not begun the first
music OF the cradle when it's author became
silent in the grave. Even the actor, though
bis success depends largely upon sympathy
in his audience, Is not under so great OBJ
legations 10 it as the singer, by as much as
the dramatist and the scene.painter play a
more important and observable part than
the composer. Words may express an
idea, however clumsily or coldly spoken;
but the expression Of the more delicate
and fleeing emotions aud suggestions OF
song must be created almost entirely by
the singer, who is all the while conscious
that unless they fall upon sensitive and
sympathetic ears, they pass forever out Of
existence with their own brief echoes. A
great English poet tells us that
"Music. when soft voices die. vibrates in the
memory"
But It is only in the memory OF such souls
as have some responsive music Of their
own.
The audience that exhibits the most
sympathetic appreciation gets the best
music. There is no power in mechanical
singing, and tbe'hearers will always feel its
l~ifelessness, whether they understand Its
cause or not. Singing may be said to find
is level. 1t cannot stir the nature OF the
bearer to any deeper depth, or exalt his
enthusiasm TO any higher height, than the
depth and height Of the singers own
heart and soul.
From the nature OF the case, there must
be a certain amount Of tediousness or
WEAKNESS in singing the same piece many
times over. Yet a song which giv,s fitting
expression to any genuine expression to
any genuine emotion OF the human heart,
which in any way arrives at that touch OF
nature that makes the, whole world kin, is
one Of the most durable OF all things in
art or literature. And.i II must be remem-
bered that each public rendering is. an ex-
perience more or less peculiar to itself. Diff
ierent audiences, different auspices, differ.
ent stage companionship. different ar
rangements for sound aud light and venti.
lati0n-above all the ever.varying expert
ences, OF ones own private life, which may
be wildly present to the singer, while hid.
den from the audience-all these things
have their effect upon the performance.
Sometimes a singer is able, for no appar-
emily adequate reason, 10 Guido, In a
marked degree, her efforts at other times.
At the least unexpected event, especially II
it be anything OF the nature Of a disap.
pointment, she may become hoarse. and
her vocal organs refuse to respond. 1t has
been found absolutely impossible to train
the voice sufficiently to enable it to over.
come such causes Of depression. Any
measure Of sadness Immediately makes
itself lelt in the effort, and mars the exc.
cution.