The sun. [volume] (New York [N.Y.]) 1833-1916, 1914-04-05

I
" art, as we'll as about many
other important subjects said
n the course of conversation few days
ago that Mr.. Caruso's voice had sin
sular effect on him, which he was sure
was physical. This Is no new idea. The
communication OF tone to nerves has
been discussed by many writers. and
there seems to be a general agreement
of opinion that musical sounds, even
when not considered in their symmetri-
cal arrangement as compositions. may
strongly affect The nearer.
Physicians and physical scientists
have made experiments along these lines
and have found numerous and various
disturbances caused in listeners to
music They have tried to derive from
these experiments some sort OF con-
illusions as to the nature of the emotions
excited by music. but in this IT must
be admitted they have not accomplished
much that is convincing.
But whatever be the physical basis or
scientific explanation of it, there is no
question whatever that certain kinds or
voices do have an extraordinary enect
upon hearers. and this. too. through the
sheer character of their tone. a bass
voice. for example. seldom arouscs any
sensation in the listener He may get
CON. portable enjoyment out of Its noble
tone and If he knows anything about
singing he may even be warmed to en-
thuslastic admiration. But this has no
relation to the kind of feeling or sensa-
ton which is brought into existence
by the peal of the upper register OF a
true tenor voice.
An ACQUAINTANCE Of this writer once
tired to- cNpatiltc on this topic by de-
clar.ng that the tenor was manufac-
turcd voice, but the writer merely an
swer,d thlt his friend could make a
lr,at fortune ly simply starting fac
tory. since tenor voices brought large
returns. The friend subsequently modi-
fled his declaration 10 read that the tenor
voice was a freak Of nature. This also
is not true. for tenor voices are numer-
Gus. but few of them are of the first
quality. In the present writer's day
there have been only perhaps three or
four which might be included In that
CLASS
For example, Jean de Reszke did not
have tenor voice of the first order.
Ills organ Of song never lost some OF its
original harytonal timbre. but the singer
placed himself IN the foremost position
BY his Incompatible art. Jean de
Reszko was without question the great
est tenor of his time aad one of the
-rcaiest of an time, but most Of his
hearers must have missed that peculiar
physical shock 10 which Mr.. iadcrcw-
SKI. with his unfdiling musical insight,
referred.
Certain unique tones in the unattrac-
tive voice Of TamaGno struck one like
The lash of whip. NJ. Maurel used
to say, lest Ia voiN unique du monde"
lie was right Such a clarion organ,
hard. piercing. mrrcilcss in fc' ling. fit
COR the rag and fury of Otclo. the world
never heard before
But Il was impossible for Tamagno to
breathe the accents Of love, whereas
Jean de Roszke thrilled every nearer If
h, hut murmurcd the word famour"
HIS Romeo was the poetic marvel of its
day, for every tone uttered ye1rnIng,
every accent rocked with romantic pas
sion. II was this peculiar and strictly
personal power Of charging every tone
with emotional appeal that made Jean
de- Re-zke5 7riStaU the most beautiful
and moving that the stage has ever
known. # lacked the imposing hcro,sm
# N.cmann's bat N!cmaur must have
made Ir>t11 incomprcncnsble To most
women ana ropelieut to others. But no
woman could have failed t. believe IN
the love of ISo!dc for the Triatan i'm
pcrsonat'd 10y j an de- Bcszkc.
In former years there was a tenor
who combined at least some Of the uu1li-
lies or both Carusp and lean de- Roszlc
This vas l'tlo campln'ni old opera
T4Hl1'