The Hawaiian star. [volume] (Honolulu [Oahu]) 1893-1912, 1894-11-16

One Place, Purity of Tone In Another.
Modern Methods of Screaming"
One often hears a singer say, "I wish
knew the correct way Of producing the
voice" Students wander from one teacher
to another and find that each has his own
theories and methods and each calls his
own the only correct and proper way.
Teachers abroad complain OF the major
ty of American girls, saying that they
Jome for a few lessons, expect wonders
and are very naturally disappointed at the
meager results. Nor does this disappoint-
ment end with themselves, for fond par
ents and interested friends expect some
thing grand as the result and often say
the singer had no voice or ability when
such is not the case. With mediocre abil-
ity, time and perseverance will enable any
one to sing.
Through the influence of pupil Of Frau
Kaula ! had the pleasure of attending two
of her afternoon classes and one concert OF
her picked voices. | was electrified and
amazed at the rich dramatic quality of
voice which her pupils, almost without
exception, possessed. Although middle
tones were carried in high sopranos up to
high @, the voices were elastic, and the
soft tones were very satisfactory. Only In
few cases did the method seem tax ON
the voice, and these cases were those OF
girls in delicate health. At Frau Kaula's
concert the style as well as the rich, ring
ing quality of the voices made therss seem
more than amateurs and gave promise of
great things.
Frau Kaula said good health was abso-
lutely necessary for success in voice train
\
or gone when such was not the case at all,
rs was later proved by the perfect condi-
tion Of the voice when health returned.
AS to the safety of allowing the loud,
strong, middle tones 10 run so high, she
said pupils came to her for dramatic, stage
and concert singing, and that this was
the only way German opera and the ma
jority of modern songs could be rendered
with effect. She believed that the old
Italian method was utterly inadequate
to fill the wants of the present style of
music. All voices, however, could not
stand dramatic training, and some must
be contented with parlor and salon singing.
Another interesting school which we
visited was in Frankfort on the Main,
where Professor Stockhausen, the former
great oratorio and liedersinger Of Ger
many, now lives, engaged in training
voices for concert and stage. Our letters
were sufficient to secure very pleasant
interview. The professor expressed him
self as opposed to the modern methods of
"screaming," as he called it, and could
not understand show meisters could en-
gage such voices" His teuors and bari
tones were mellow and clear, and without
that forcing and straining so noticeable
In many tenors. His sopranos were clear
and sweet, but none seemed very high or
very dramatic. One or two mezzos were
especially delicious and satisfactory, and
there was an exquisite quality in nearly
all the voices that was lacking In the
voices of Kaula's pupils. In conversation
with girl pupil it was remarked that
| Stockhausen's voices all seemed small.
Yes, she replied, that they were not big
voices, but wonderfully pure and sweet.
1t Is certain that the most delicate girl
| could sing In this method with no detri-
ment to voice or physique, and the effect
In parlor would be very beautiful, but
unless she possessed phenomenal voice
she would never make startling or thrill
ing concert or stage singer.
Chance favored us in Paris. A liter
ary woman appeared one afternoon at the
hotel and said: "Come, we will call this
afternoon on Nine, Marchesi. II she Is
amiable, we will have a most charming
time; if she is not we may leave az sud
denly as we came"
Once across the charming little Pare
Marceau, a few turns brought us to the
madame's house, "A plain, two story, white
stone structure, with the entrance at on,
side.
Madame was in an amiable mood. Sh,
left at once the bevy of pretty girls VIII
Al
back parlor, and with arms outstretche,
came toward my friend. A kindly fac
smiled from under the iron gray hair, an
the tall figure, straight rs an arrow, beI
to greet us with winning grace.
az will speak English, since your frien
Is American" said madame. "Ahi yC
| have just visited Professor Stockhause
and want to talk about my school al
methodist Then am interested. Profe
sor Stockhausen and / were born in Il
same city, Frankfort on the-M Main, boi
of German parents. We came to Paris
the same time to study vocal culture. 4
chance had 1t we went to the same graz
old master, Manuel Garcia. Profess
Stockhausen trained for tenor and Z,
a soprano, but his love for German sons
and oratorio music led him to leave IL
beaten road indicated by the great ma
ter, and he appeared later AZ barton
singer, what was then considered an inf
J rior voice, the tenor, like the high 81
, prano, being at that time the favori,
: voice. But Europe vent wild over hin
, The fire and passion of his exoitable Ge
! man temperament gave charm befol
: unknown in the world of lieder, and b
audiences were mad with enthusiasm. L
found after time that he could no lonl
er produce the very high notes. Then
y came back to Garcia to find out what WI
Il the matter The end OF their intervie
r WAS that the professor said that II eth,
}, breadth or quality had to be sacrifice
Q for few fancy and worthless high not
|. he preferred to lose the high notes.
n Madame said that Professor Stockhau
J. ems greatest successes had been with me
It los and contraltos. This was, howeve
q one of the first steps in the direction of
o classical and substantial style OF singh
r in place Of the old, horid Italian school.
l. Nine. Marchesi clings TO the old met
y cd of making marked breaks between t
d, registers and never allows middle to-
er above T.. When we know that the o
sr Italian system allowed no middle ton
ID whatever-only head and chest tones
can see that go years ago Nine. March'
must have been very daring TO admit t
singing of middle tones even up to +.
: Cor. San Francisco Chronicle.