The sun. [volume] (New York [N.Y.]) 1833-1916, 1910-12-04
SONG RECITALS IN VOGUE
uME. SENBRiCH CHATS o.
rUG NEW FORM az CONCERT.

q Test. the sinserr Art Oanneoatie. or
Intrrpretlnx q song Making Up ta~
Prsxr-mme- tseanty = Chief Qtiaii-
nraVs On sf the Opera singer To-day.
About every vocalist il to-day giving
song rscitals The prevalence OF AIS
form Of entertainment seems tho more
surprising when Que remembers that a
little more than decade ago such CON
certs were practically unknown. First
the Henschsls were pionsers in u.
Lilli Lehman began TO give song re-
for all German operatic artists sing n
The next Of the famous opera singers go
enter this field vas Nine Sembrich. who
while still singing ut the Metropolitan
Opera House gave occasional song re-
citals at Carnegie Hall and in the larger
cities
Mime schumann -Heink and Mime Cad
, ski entered tho same field Nine EAm"s
also tried this form Of concert one" here
! Ludwig wuellner. who had been famous
FOR Years a. q singer OF German scnGs,
came 20 this country and justified IN"
| reports ~ his fame that had preceded
! him Senor Bonci also gives rrcitals
Now the woods ara full Of singers who
ail5N 'ueusneiN~s 10 Do hraru ia sOnk
recitals
There ara Of course undsniabi. Ad.
vantages 70 the singer in this style 81
concert. The expense IL comparatively
small No assisting fists need h- en-.
gagged and no orchestra 10 necessary
When the receipts exceed ~. oo0. m they
did on recent afternoon in Carnegie
] Hal there il profit in them. Such audi
ences however. are rare
| The disadvantages 81 the sons recital
are the extreme test ~ the art 81 The singer
| involved and the emotional variety needed
20 express tho different meanings Of some
twenty or more songs. Then there il a
vocal strain. The old STYLE concert. with
i's two or three arias. its duet and
I its mixed programme. WAS much less ex-
| acting for the vocalist.
II il in the making 81 programmes that
much ~ IN" success 10 The singer % liedrr
! lies. Nona II the song recital specialists
has ccnuliersd the secret - this attraction
so tho same i.gree NJ Nine. Sernhrich and
how much difficulty is ancnunt erei in the
arrangement -. this detail Of concert
NAV be understood from the amoun, %
time that this artist devotes 20 the seleC-
ton ~ the numbers that make ny "a single
song recital programme.
III the selection ~ the songs thai max
rip a list for a recital she told INF SrN
reporter. consisted merely in taking
from the composers what was beautiful.
what showed tha voice 20 advantage or
what was especially we'll suited to the
personality NJ the singer there would he
no great difficulty IN making up pro-
gramme. Br those are only details Of The
work that lisra h-fnr" he singer
Il won't go into the difficulties that
come up in the making Of historical
PROGRAMME. whore the old numbers come
first There are points there also that
every singer ought 10 b" thoughtful
about | am always extremely nervous
when begin a concert cannot ina gine
an artist who could feel otherwise at the
thought Of facing such a task the de-
livery Of n long programme 81 songs by
the great composers
The singer must consider first her
duty To herself in .i"ing Up to the rsputa-
ton tina, -hs has made in tho world
Then Their. II IN. duty Of pleasing those
lovers Il singing who have come 80 hear
her interpret the masterpieces NJ song
literature Then there j. The duty 10 she
COMPOSERS
In nv own "a" there - always ono
additional re~DOU-,biiity Nv friends cad
nv manager ell IN" that rher. ar, aivav-
many singers and sa.her- in NY audi
encc- who have com. 20 study my singing
Of IN. different songs 80 you see. there
Is enough 10 make any one nervous fnr a
few rinu'C- a. the beginning
In tn. classical part Of programme
there ought 10 be- 81 IN" outset q Gong that
Will not demand too much rcpus. and
serenity fror' ~" singer Their. should
not h.. a suS' med l.gaTo ~ ~" outset .
Iha. can { ONE later BIT there are InII'h
more important principles TO be- taken
into consideration ON tn" artistic side o:
programme making
~. for instance I am selecting the
songs Of on.. composer 20 make up "A part
Of ih, yroGTamm" Il would not ne ia tn"
laas- diffic III TO 'hint AZ once OF liz song
that would delight the audience and y in
great appliance for the singer But rhos..
ar.. not III. only considerations that an
artist m,i-' bear in mind
-Thars. must IN III. iirsr pinC.. IN. variety
IN q progra nun. Tins DOES nD' iI-in
that there must be- variety in the moods
Of th- songs alon" II often HAPPENS
in fact that variety need not follow in
on. song after the other since two or
three songs NAV IN. ia IN" same emotional
mood But there must be 'onal variety
and ~ the sam. time the musical nstmr"
Of on. song must lear its proper r"lat ion
To- the other songs about 1t.
There must lie a harmony in the key
do not OF course speak in n strictly
m,Isical sens. now-of tn. songs that
are grouped together But there must