Deseret evening news. [volume] (Great Salt Lake City [Utah]) 1867-1920, 1904-01-30

OBSERVATION-DISCLOSURES ~ - yItIII||y|lNNN
with improperly developed voices
which they do not properly use the
other that the most Of them make 40
prctense Of being vocal artists but are
mere vocal artisans, vocal Jacks OF
an trades, Ianiering 10 a dcCadent
public taste, which does not desire art
hIl sentiment ana claptrlp sentiment
at lhat, Therefore, IT Is charged that
our singers roar. scream, MARBLE taIk
and dcrllin but do not sing. Audi
cuCes concern themselves more with
what Is suns than with how II Is sung.
Patti is the only one OF the modelns
who Is conceded to know what "a voice
could ana should do, ana what 1t could
not and should not do, The modern
idea that "a fine voice should do any
thing and everything is dpridcd, for
the point Is made clear that To- be ten
one robustO and tenore leggIero, or So
prano drammatiCo and soprano leg
Eiero, in the same evening and perhaps
IN the same piece, is precisely what the
fine voice, the trained tempered organ,
can never do. and what only the in
fcrior and ignorant singer will attempt
1T is the absolute imperlection OF
voices torn 10 shreds by improper use,
or which have never reached the con-
dition of being instruments at all,
which makes such a prctonsc on the
part Of the public or such a conde-
scensIon ON the part of the artist pos
sible,' remarks NJ 4. Il" TuRer IN the
Nineteenth Century and After
The acquisition of technique IS not
held 10 be- the singers INST business.
but the formation Of the instrument
the making of the voice To sing with.
and a return IL urged TO the strruu-
GUS gpplicatlon Of other times. when no
great singer ever venturcd To make
debut before AZ least six wears study.
And such study This six wears of con-
tinuous training meant a lesson every
duy. the beginner never being permit
ted TO practisc bv himself for II WAS
essential that tho yoiap should Inc
placed" by The master and this Mac
ing alone consumed two on three wears.
Tho management Of the breath il the
foundation of the singers art and tho
art of breathing comprohpudy how To
take tho breath and how mot to lpt II
20. The foundation well hullt II is then
tinn to erect tha surarstructilra. Tho
tue thoprv of voice develoument de-
mands lcgato singing rather Than stac.
cato notes. save where IN. ,xigcncv
of the passage demands those. The pro-
durtion of ~ trIo mr2za yoir4 vim tho
same carving oualiti.sa or fine fuu
voice. rull round hiph uotcs sustained
and Grm moi thp rssuIt of rouvulsivn
effort 10 sing with .ffort is I'm sing
bldlv To sing win affort is In Insure
the ronii dast,nctior If tbut iustruu.uf
",yhoG, hoautv prrfcrt Inn Intimacy
and mnyinp noIy.r oyr,.1 tb,t of nyrry
Instrument mndo win hands" Eubini
the greot italian tenor vbo hogan life
vim mo nromiso nj , v,jro INF who
sang Min brilliant s,cro.s f. the duv
of his dnnth NJ the mo-, of 4, tnld his
f,,,n1 Dunrsy th. Frc,cb ,opnr who
evon IN his vouth WINS rer-arJrl os "A
n,uslcaI nrodigv INT V.bosa vii, rnil.J
at 40 "ynu 6ayn Nlost vnnr yoion Inc.
causn Won Sane win nj vo,r, ronitol
Whereas bayo alvavs -,Irg Win tho
Interest unon r,ino
rho crlticis,, from ,cbiob tho ohovo
digest bos been modn nl5rre oI tho
bi9mo urop modorn masters ovowiup