The Indianapolis journal. [volume] (Indianapolis [Ind.]) 1867-1904, 1898-11-14

If we have, as professors in any way en-
couraged this sort of thing, 1t is for us TO
seriously consider what Should be our attl-
tude toward 1t.
The influence OF EUROPE on American
vocal teaching is felt in various ways. We
feel that influence through the European
grand opera singers wRo appear here.
Somebody has said that IA. Jean de Reszke
holds that good singing isl ''all matter OF
the nose" Just what NJ. DE ResZke means
by that epigrammatic statement only HIM
self perhaps could say. 1.-The difficulty Is,
however, that our pupils igo to the grand
opera. and, thinking thaS the ladies and
gentlemen whom they hear there are, by
reason of their position on :the stage, models
for them to COPY. endeSVOr to discover
something about the method of this singer
or that and return to our studios resolved
TO do as they suppose the grand opera artist
does. They say: m. this or NJ. that does
so and so, and of course 1T must be right,
therefore must do So tooE' Again, through
the example of certain SINGERS. brought here
from Europe to sing the new operate
music our students ard sometimes led
astray. They hear the irhpassioned decla-
nation spoken of as singing. They find
that singer may sing pGrsistently OF the
key, may be unable TO exhibit the legato.
may shout Justify, yet If .he show himself
TO be possessed of temperament. able 10
make himself heard against heavy orches-
tration and to reach very Ihigh or very low
pitches he is loudly applauded. Then they
come back to the studio 3nd say: I must
have bigger tone somh how-anyhow; I
must have the high notes: must sing with
force and breadth and abandon" Now,
his work upon what he ssIpposes to be the
method of the grand OPERA artist Then.
too, as have intimated some of the grand
opera singers are by no means worthy of
imitation. We must teach our pupils to
discriminate. to know what are the essen
tails of good singing and to judge every
singer as to whether he seXhibts them or
not, independently of the applause of tine
public. We must cling 10 our ideals af
good singing and insist that our pupils shall
endeavor to realize them without reference
to the example of grand opera artists. We
must say to them: "Eithes you sing or YOU
do something else which IS not singing, no
matter how well it may he received by the
public" If necessary wei must let pupils
go rather than give way 20 their mistaken
desire to initiate grand opera artists in GER
tain ways instead of following our instruc-
lions.
Modern European composition in opera and
song is in favor here. aEd influences the
work of the American vocal teacher. In the
modern opera, with some exceptions, the
voice has been dethroned. and the orchestra
given a prominent place. IN the modern art
song, voice and instrumesnt combine in a
wide range of emotionals expression. This
type of song makes larSe demands upon
the voice power, vocal skill, temperamental
force and musicianShip of the singer.
Modern composers, including American writ
ers of vocal works, oftens write as though
they did not know the vYice. A European
authority on singing himself we'll
schooed musician, has SAIL
I'VE want better understanding of tho
voice by modern compokers. and better
singers to sing well the Nell-written COM
pOSltlOnS. Inc Ffencn OpeEaS are Wei WIFI
ten for the voice. Their style is not very
high but they are artistic. i'm what they do
Bemberg, for instance writes charming
things. In America the rev men fine
writers. but they should lbarn to know the
voice The difficulty originated with the
co-called Italian composeks who as lovely
"a they wrote their melodi4s-and how beau
tful they were for the svoice-their har-
monies and accomplishments were so meager,
their BASES so stupid, tliat they will not
compare with the superios, the interesting
harmony and orchestratiDn. the general
musicianship of the msositions of the
present time. 1t is at ths present day in
part struggle between melody and har-
mony l hold that the mDre beautiful the
melody, the greater, thet more profound
must be the composer who can establish
harmony to it and not sacrifice the melody.