336 files changed, 10175 insertions, 0 deletions

diff --git a/.gitattributes b/.gitattributes
new file mode 100644
index 0000000..6833f05
--- /dev/null
+++ b/.gitattributes
@@ -0,0 +1,3 @@
+* text=auto
+*.txt text
+*.md text
diff --git a/21400-8.txt b/21400-8.txt
new file mode 100644
index 0000000..49c9dea
--- /dev/null
+++ b/21400-8.txt
@@ -0,0 +1,3233 @@
+The Project Gutenberg EBook of Style in Singing, by W. E. Haslam
+
+This eBook is for the use of anyone anywhere at no cost and with
+almost no restrictions whatsoever.  You may copy it, give it away or
+re-use it under the terms of the Project Gutenberg License included
+with this eBook or online at www.gutenberg.org
+
+
+Title: Style in Singing
+
+Author: W. E. Haslam
+
+Release Date: May 9, 2007 [EBook #21400]
+
+Language: English
+
+Character set encoding: ISO-8859-1
+
+*** START OF THIS PROJECT GUTENBERG EBOOK STYLE IN SINGING ***
+
+
+
+
+Produced by David Newman, Chuck Greif, Linda Cantoni, and
+the Online Distributed Proofreading Team at
+http://www.pgdp.net
+
+
+
+
+
+
+
+
+
+_TO MY PUPILS_
+
+
+STYLE IN SINGING
+
+
+BY
+
+W.E. HASLAM
+
+
+NEW YORK: G. SCHIRMER
+1911
+
+Copyright, 1911
+By G. SCHIRMER
+
+22670
+
+
+
+
+PREFATORY NOTE
+
+
+"Of making many books there is no end." Surely, the weary observation
+of the sage must have an especial application to the literature of
+Song.
+
+One could not number the books--anatomical, physiological,
+philosophical--on the Voice. A spacious library could easily be
+furnished with "Methods" of Singing.
+
+Works treating of the laws governing the effective interpretation of
+instrumental music exist. Some of them, by acknowledged and competent
+authorities, have thrown valuable light on a most important element of
+musical art. Had I not believed that a similar need existed in
+connection with singing, this addition to vocal literature would not
+have been written.
+
+In a succeeding volume on "Lyric Declamation: Recitative, Song and
+Ballad Singing," will be discussed the practical application of these
+basic principles of Style to the vocal music of the German, French,
+Italian and other national schools.
+
+W.E. HASLAM.
+
+2, rue Maleville,
+  Parc Monceau, Paris,
+    July, 1911.
+
+
+
+
+INTRODUCTION
+
+
+In listening to a Patti, a Kubelik, a Paderewski, the reflective
+hearer is struck by the absolute sureness with which such artists
+arouse certain sensations in their auditors. Moreover, subsequent
+hearings will reveal the fact that this sensation is aroused always in
+the same place, and in the same manner. The beauty of the voice may be
+temporarily affected in the case of a singer, or an instrument of less
+æsthetic tone-quality be used by the instrumentalist, but the result
+is always the same.
+
+What is the reason of this? Why do great artists always make the same
+effect and produce the same impression on their public? Why, for
+instance, did the late Mme. Tietjens, when singing the following
+passage in Handel's _Messiah_, always begin with very little voice of
+a dulled quality, and gradually brighten its character as well as
+augment its volume until she reached the high _G_-[sharp] which is the
+culmination, not only of the musical phrase, but also of the
+tremendous announcement to which it is allied?
+
+[Music: For now is Christ risen, for now is Christ risen.]
+
+This last tone was delivered with the full force and brilliance of her
+magnificent voice, and was prolonged until the thrill produced in the
+listener became almost painful in its intensity. Again I ask, why did
+this world-famous singer perform this passage _always_ in the same
+way? Unreflecting people may reply vaguely that it was because the
+artist "sang with expression." But what constitutes "expression" in
+singing? No great artist--no matter what the vehicle or medium through
+which his art finds manifestation--does anything at random. "The wind
+bloweth where it listeth" only in appearance; in reality, it is
+governed by immutable law. Similarly, the outward form of an art is
+only apparently dictated by caprice and freedom from rule. The
+effective presentation of every art is based on well-defined and
+accepted principles. And it is with the earnest desire to throw light
+on this most important phase of vocal art, that I present the
+principles of "Style in Singing."
+
+
+
+
+CONTENTS
+
+
+                                                                  PAGE
+
+PREFATORY NOTE                                                       v
+
+INTRODUCTION                                                       vii
+
+CHAPTER I: Elements of Vocal Training                                1
+
+    Emission of Voice                                                2
+
+CHAPTER II: The Value of Technique                                   7
+
+CHAPTER III: Analysis of Style                                      12
+
+    Colour                                                          14
+
+    Accent                                                          21
+
+    Intensity                                                       27
+
+    Phrasing                                                        32
+
+    Portamento                                                      37
+
+    Variations of Tempo                                             41
+
+CHAPTER IV: Tradition                                               44
+
+    Pointage                                                        61
+
+CHAPTER V: Répertoire                                               91
+
+CHAPTER VI: Conclusion                                              98
+
+
+
+
+STYLE IN SINGING
+
+
+
+
+CHAPTER I
+
+ELEMENTS OF VOCAL TRAINING
+
+
+If the practical education of the singer be analyzed, it will be found
+to comprise four fundamental elements:
+
+(1) POSE: or Emission of voice;
+
+(2) TECHNIQUE: or the discipline of the voice considered as a musical
+instrument;
+
+(3) STYLE: or the application of the laws of artistic taste to the
+interpretation of vocal music;
+
+(4) RÉPERTOIRE: or the choice, in the literature of vocal music, of
+works most suited to the voice, temperament and individuality of the
+particular singer.
+
+I have classed these four elements in their relative order. They are,
+however, of equal importance. Until the Pose and Technique of a voice
+are satisfactory, attempts to acquire Style are premature. On the
+other hand, without Style, a well-placed voice and an adequate amount
+of Technique are incomplete; and until the singer's education has been
+rounded off with a Répertoire adapted to his individual capabilities,
+he is of little practical use for professional purposes.
+
+       *       *       *       *       *
+
+EMISSION OF VOICE
+
+Great natural gifts of temperament and originality may, and sometimes
+do, mask defects of emission, particularly in the case of artists
+following the operatic career. But the artistic life and success of
+such a singer is short. Violated Nature rebels, and avenges herself
+for all infractions of law. A voice that is badly produced or emitted
+speedily becomes worn, and is easily fatigued. By an additional
+exertion of physical force, the singer usually attempts to conceal its
+loss of sonority and carrying-power. The consequences are disastrous
+for the entire instrument. The medium--to which is assigned the
+greater portion of every singer's work--becomes "breathy" and hollow,
+the lower tones guttural, the higher tones shrill, and the voice,
+throughout its entire compass, harsh and unmanageable.
+
+In view of its supreme importance, it is scarcely necessary to dwell
+upon the self-evident fact that this foundation--Emission, or Placing
+of the voice--should be well laid under the guidance of a skilled and
+experienced singing-teacher. Nothing but disappointment can ensue if a
+task of such consequence be confided, as is too frequently the case,
+to one of the numerous charlatans who, as Oscar Commettant said, "_are
+not able to achieve possibilities, so they promise miracles_." The
+proper Classification, and subsequent Placing, of a voice require the
+greatest tact and discernment. True, there are voices so well-defined
+in character as to occasion no possible error in their proper
+Classification at the beginning of their studies. But this is not the
+case with a number of others, particularly those known as voices of
+_mezzo-carattere_ (_demi-caractère_). It requires a physician of great
+skill and experience to diagnose an obscure malady; but when once a
+correct diagnosis is made, many doctors of less eminence might
+successfully treat the malady, seeing that the recognized
+pharmacopoeia contains no secret remedies.
+
+Let the student of singing beware of the numerous impostors who claim
+to have a "Method," a sort of bed of Procrustes, which the victim,
+whether long or short, is made to fit. A "method" must be adapted to
+the subject, not the subject made to fit the method. The object of all
+teaching is the same, viz., to impart knowledge; but the means of
+arriving at that end are multiple, and the manner of communicating
+instruction is very often personal. To imagine that the same mode of
+procedure, or "method," is applicable to all voices, is as
+unreasonable as to expect that the same medicament will apply to all
+maladies. In imparting a correct emission of voice, science has not
+infrequently to efface the results of a previous defective use,
+inherent or acquired, of the vocal organ. Hence, although the object
+to be attained is in every case the same, the _modus operandi_ will
+vary infinitely. Nor should these most important branches of
+Classification and Production be entrusted--as is often the case--to
+assistants, usually accompanists, lacking the necessary training for a
+work requiring great experience and ripe judgment. To a competent
+assistant may very properly be confided the preparation of Technique,
+as applied to a mechanical instrument: All violins, for instance, are
+practically the same. But voices differ as do faces.
+
+The present mania for dragging voices up, and out of their legitimate
+_tessitura_, has become a very grave evil, the consequences of which,
+in many instances, have been most disastrous. Tolerable baritones have
+been transformed into very mediocre tenors, capable mezzo-soprani into
+very indifferent dramatic soprani, and so on. That this process may
+have answered in a few isolated cases, where the vocal organs were of
+such exceptional strength and resistance as to bear the strain, is by
+no means a guarantee that the same results may be obtained in every
+instance, and with less favoured subjects. The average compass in male
+voices is about two octaves minus one or two tones. I mean, of course,
+tones that are really available when the singer is on the stage and
+accompanied by an orchestra. Now, a baritone who strives to transform
+his voice into a tenor, simply loses the two lowest tones of his
+compass, possibly of good quality and resonance, and gains a minor or
+major third above the high G (sol) of a very poor, strained character.
+The compass of the voice remains exactly the same. He has merely
+exchanged several excellent tones below for some very poor ones above.
+I repeat, one who aspires to be a lyric artist requires the best
+possible teacher to guide his first steps; he may consult an inferior
+or incompetent professor, when so firmly established in the right path
+that he cannot possibly be led astray.
+
+It is a common belief that singing-teachers of reputation do not care
+to occupy themselves with voice-production, or are unable to teach it.
+This is a serious error. A competent professor of singing is as
+capable of imparting the principles of this most important branch, as
+of directing the more æsthetic studies of Style and Répertoire. All
+the really great and illustrious singing-masters of the past preferred
+to "form" the voices of their pupils. To continue and finish a
+predecessor's work, or to erect a handsome and solid structure on
+defective foundations, is always a difficult task; sometimes an
+impossible one.
+
+Then, as regards the pupil, particularly one studying with a view to a
+professional career, a defective preparatory training may eventually
+mean serious material loss. The money and time spent on his vocal
+education is, in his case, an investment, not an outlay; the
+investment will be a poor one, should it be necessary later to devote
+further time and expend more money to correct natural defects that
+ought to have been corrected at the beginning of his studies, or to
+eradicate faults acquired during their progress.
+
+Furthermore, the purpose of some part of a singer's preliminary
+education is to strengthen and fit the voice for the exacting demands
+of a professional career. As the training of an athlete--rower,
+runner, boxer, wrestler--not only perfects his technical skill, but
+also, by a process of gradual development, enables him to endure the
+exceptional strain he will eventually have to bear in a contest, so
+some of a singer's early studies prepare his voice for the tax to
+which hereafter it will be subjected. If those studies have been
+insufficient, or ill-directed, failure awaits the débutant when he
+presents himself before the public in a spacious theatre or
+concert-hall and strives, ineffectually, to dominate the powerful
+sonorities of the large orchestras which are a necessity for modern
+scores. A sound and judiciously graduated preparatory training, in
+fact, is essential if the singer would avoid disappointment or a
+fiasco.
+
+The vocal education of many students, however, is nowadays hurried
+through with a haste that is equalled only by the celerity with which
+such aspirants for lyric honours return to obscurity.
+
+
+
+
+CHAPTER II
+
+THE VALUE OF TECHNIQUE
+
+
+Briefly defined, the singer's Technique may be said to consist
+principally of the ability to govern the voice in its three phases of
+Pitch, Colour, and Intensity. That is, he must be able to sing every
+note throughout the compass of the voice (Pitch) in different
+qualities or timbres (Colour), and with various degrees of power
+(Intensity). And although the modern schools of composition for the
+voice do not encourage the display of florid execution, a singer would
+be ill-advised indeed to neglect this factor, on the plea that it has
+no longer any practical application. No greater error is conceivable.
+Should an instrumental virtuoso fail to acquire mastery of
+transcendental difficulties, his performance of any piece would not be
+perfect: the greater includes the less. A singer would be very
+short-sighted who did not adopt an analogous line of reasoning.
+Without an appreciable amount of _agilità_, the performance of modern
+music is laboured and heavy; that of the classics, impossible. In
+fact, virtuosity, if properly understood, is as indispensable to-day
+as ever it was. As much vocal virtuosity is required to interpret
+successfully the music of Falstaff, in Verdi's opera, as is necessary
+for _Maometto Secondo_ or _Semiramide_ by Rossini. It is simply
+another form of virtuosity; that is all. The lyric grace or dramatic
+intensity of many pages of Wagner's music-dramas can be fully revealed
+only through a voice that has been rendered supple by training, and
+responsive to the slightest suggestion of an artistic temperament.
+
+In short, virtuosity may have changed in form, but it is still one of
+the cornerstones of the singer's art. An executive artist will spare
+no pains to acquire perfect technical skill; for the _métier_, or
+mechanical elements of any art, can be acquired, spontaneous though
+the results may sometimes appear. Its primary use is, and should be,
+to serve as a medium of interpretation. True, virtuosity is frequently
+a vehicle for personal display, as, notably, in the operas of
+Cimarosa, Bellini, Donizetti, and the earlier works of Rossini and
+Verdi. At its worst, however, it is a practical demonstration of the
+fact that the executant, vocal or instrumental, has completely
+mastered the mechanical elements of his profession; that, to use the
+_argot_ of the studios, "_il connaît son métier_" (he knows his
+trade).
+
+Imperfect technique, indeed, is to be deprecated, if merely for the
+reason that it may debar a singer from interpreting accurately the
+composer's ideas. How seldom, if ever, even in the best lyric
+theatres, is the following passage heard as the composer himself
+indicated:
+
+[Music: "Plus blanche"
+
+Les Huguenots: Act I
+
+Meyerbeer
+
+Plus pure, plus pure qu'un jour de printemps]
+
+or the concluding phrase of "Celeste Aida" (in _Aida_, Act I), as
+Verdi wrote it and wished it to be sung:
+
+[Music: un trono vicino al sol, un trono vicino al sol.]
+
+At present the majority of operatic tenors, to whom are assigned the
+strong tenor (_fort ténor_) rôles, can sing the higher tones of their
+compass only in _forte_, and with full voice. Thus an additional and
+very charming effect is lost to them. Yet Adolphe Nourrit, who created
+the rôle of Raoûl in _Les Huguenots_, sang, it is said, the phrase as
+written. The late Italo Campanini, Sims Reeves, and the famous Spanish
+tenor Gayarré, were all able to sing the
+
+[Music]
+
+_mezza voce_, by a skilled use of the covered tones.
+
+I do not ignore the fact that cases occur where artists, owing to some
+physiological peculiarity or personal idiosyncrasy, are unable to
+overcome certain special difficulties; where, indeed, the effort would
+produce but meagre results. But such instances are the exception, not
+the rule. The lyric artist who is gifted merely with a beautiful
+voice, over which he has acquired but imperfect control, is at the
+mercy of every slight indisposition that may temporarily affect the
+quality and sonority of his instrument. But he who is a "singer" in
+the real and artistic sense of the word, he who has acquired skill in
+the use of the voice, is armed at all points against such accidents.
+By his art, by clever devices of varied tone-colour and degrees of
+intensity, he can so screen the momentary loss of brilliance, etc., as
+to conceal that fact from his auditors, who imagine him to be in the
+possession of his normal physical powers. The technical or mechanical
+part of any art can be taught and learned, as I have said. It is only
+a case of well-guided effort. Patience and unceasing perseverance will
+in this, as in all other matters, achieve the desired result. Nature
+gives only the ability and aptitude to acquire; it is persistent study
+which enables their possessor to arrive at perfection. Serious and
+lasting results are obtained only by constant practice. It is a
+curious fact that many people more than usually gifted arrive only at
+mediocrity. Certain things, such as the trill or scales, come
+naturally easy to them. This being the case, they neglect to perfect
+their _agilità_, which remains defective. Others, although but
+moderately endowed, have arrived at eminence by sheer persistence and
+rightly directed study. It is simply a musical version of the Hare and
+the Tortoise.
+
+       *       *       *       *       *
+
+But we must make a great distinction between the preliminary exercises
+which put the singer in full possession of the purely mechanical
+branch of his art (Technique), and the æsthetic studies in Taste and
+the research for what dramatic authors call "the Science of Effect,"
+or Style. The former must be thoroughly accomplished, otherwise the
+latter cannot be undertaken satisfactorily. A good and reliable
+technique is undoubtedly of primary necessity. But it is by no means
+all. One may have a voice which is well-posed and of good resonance,
+and also have sufficient flexibility to perform neatly all the rapid
+passages with which the pages of the classic composers abound. But
+this is not singing; nor is the possessor of these an artist. He has
+simply the necessary and preliminary knowledge which should enable him
+to become one, by further study of the æsthetic side of the art of
+singing. He has, as it were, collected the materials necessary for the
+erection of a splendid edifice, and has now to learn the effective
+means of combining them. So, when the voice is "formed," a frank and
+easy emission obtained, a sufficiency of Technique acquired, the next
+step in the singer's education is the practical study of the problem
+of Style.
+
+
+
+
+CHAPTER III
+
+ANALYSIS OF STYLE
+
+
+What is Style?
+
+In reality the question is two-fold. One may have Style; and one may
+have _a_ style. The former is general; the latter individual. The
+former can be taught and learned, for it is based on certain
+well-defined rules; the latter is personal--in other words, is not
+universally applicable. Not infrequently it is a particular
+application of those rules which gives the impress of originality. But
+correct taste must first be formed by the study of the noblest
+creations in the particular art that claims attention. In singing, as
+in the sister arts, the laws which govern Style must be apprehended
+and understood before Individuality can be given full scope.
+Otherwise, what to the executant would appear as original might, to
+correct taste and judgment, appear ridiculous and extravagant. A
+genius is sometimes eccentric, but eccentricity is not genius. Vocal
+students should hear as many good singers as possible, but actually
+imitate none. A skilled teacher will always discern and strive to
+develop the personality of the pupil, will be on the alert to discover
+latent features of originality and character. He will respect and
+encourage individuality, rather than insist upon the servile imitation
+of some model--even though that model be himself. As the distinguished
+artist Victor Maurel has justly observed: "Of all the bad forms of
+teaching singing, that by imitation is the worst" (_Un Problème
+d'Art_).
+
+In singing, as in painting, a copy has never the value of the
+original. Moreover, slavish imitation in any art has a deleterious
+influence. But to respect irreproachable examples and fitly observe
+sound rules, whose very survival often justifies their existence and
+testifies to their value, is always of benefit to the artist. To
+imitate is to renounce one's individual expression of an ideal and
+present that of another. But to observe established and accepted laws,
+laws founded on Truth and consecrated by Time, is not to imitate, when
+those laws are applied in an original and individual manner that is in
+harmony with the personality of the interpreter. "_L'art est un coin
+de Nature vu à travers un tempérament._" In literature, each writer
+has his own special style which may easily be recognized; but all
+follow the same grammatical rules. A correct style in singing consists
+in the careful observance of the principles of Technique; a perfect
+Diction; the appropriate Colouring of each sentiment expressed;
+attention to the musical and poetic Accents; judicious and effective
+Phrasing (whether musical or verbal), so that the meaning of both
+composer and poet may be placed in the clearest light.
+
+       *       *       *       *       *
+
+Let us analyze Style in its three principal aspects: Colour, Accent,
+and Phrasing.
+
+
+COLOUR
+
+Of all the elements of Style in singing, the most potent and
+effective--the one, indeed, that is essential for the success of the
+lyric artist--is the ability to vary the vocal timbre; that is, to
+sing with Colour. This desideratum of varied tone-colour is sought
+even by instrumentalists. Nay, the instrument itself is sometimes
+constructed with this object in view. Witness the invention of the
+"soft" pedal, which is intended not solely to reduce the intensity of
+tone in the pianoforte--that may be accomplished by a modification of
+force in striking the note--but to give the tones a darker, more
+sombre quality, or colour. To vary the tone-colour, a violinist or
+'cellist draws the bow across the strings close to, or distant from,
+the bridge, in accordance with his desire for a reed-like or
+flute-like quality of tone. Anyone who has listened to the performance
+of the slow movement in Paganini's Concerto in _D_, by an Ysaye or a
+Mischa Elman, will have remarked how the skilful use of varied tone
+colour and other devices imparts a wonderful charm to music
+intrinsically of but mediocre value.
+
+A singer may have a good quality of voice; but that is normal. If he
+can vary it only in degrees of loudness (Intensity) and not in
+differences of timbre (Colour) he cannot be ranked as an artist. No
+matter how great the natural beauty and sonority of his voice, his
+performance will always be monotonous, if he has only one tint on his
+vocal palette. In speech--from which the effect is borrowed--utterances
+of grave and serious meaning, and those of gayer import, are not made
+with the same colour of voice. A brighter quality (_voix claire_) is
+used instinctively for an ejaculation uttered by one to whom pleasant
+or joyful news has been communicated. On the contrary, should it be
+the cause of sorrow or grief for the listener, he will use--should he
+have occasion to reply--a darker quality of voice (_voix sombre_).
+Such phenomena are physiological. The vocal organs are the most
+sensitive of any in the human economy: they betray at once the mental
+condition of the individual. Joy is a great tonic, and acts on the
+vocal cords and mucous membrane as does an astringent; a brilliant and
+clear quality of voice is the result. Grief or Fear, on the other
+hand, being depressing emotions, lower the vitality, and the
+debilitating influence communicates to the voice a dull and sombre
+character.
+
+On this question of colour in the voice, the masterly writer and
+critic Legouvé says: "Certain particular gifts are necessary if the
+speech is to possess colour. The first of these is Metal in the voice.
+He who has it not will never shine as a colourist. The metal may be
+gold, silver or brass; each has its individual characteristic. A
+golden voice is the most brilliant; a silvery voice has the most
+charm; a brassy voice the most power. But one of the three
+characteristics is essential. A voice without metallic ring is like
+teeth without enamel; they may be sound and healthy, but they are not
+brilliant.... In speech there are several colours--a bright, ringing
+quality; one soft and veiled. The bright, strident hues of purple and
+gold in a picture may produce a masterpiece of gorgeous colouring; so,
+in a different manner, may the harmonious juxtaposition of greys,
+lilacs and browns on a canvas by Veronese, Rubens, or Delacroix.
+
+"Last of all is the velvety voice. This is worthless if not allied
+with one of the three others. In order that a velvety voice may
+possess value it must be reinforced (_doublée_) with 'metal.' A
+velvety voice is merely one of cotton."[1]
+
+[Footnote 1: These admirably expressed views illustrate and exemplify
+the principles I laid down in a _conférence_ (Paris, 1902) on
+Voice-Production (_Pose de la Voix_), wherein I demonstrated the
+possibility of acquiring, by the aid of the resonating cavities, a
+greater sonority, more in conformity with the demands and necessities
+of present-day music.]
+
+It may be of interest to notice that the quality which in France is
+designated "timbre," is called by the Italians "_metallo di voce_,"
+or, "metal of the voice." Those who heard Madame Sarah Bernhardt
+fifteen or twenty years ago will readily understand why her countless
+friends and admirers always spoke of her matchless organ as "_la voix
+d'or_."
+
+The late Sims Reeves, the famous tenor, was a perfect master of all
+varieties and shades of vocal colour, and displayed his mastery with
+certainty and unfailing effect in the different fields of Oratorio and
+Opera. In the recitative "Deeper and deeper still," with its
+subsequent aria "Waft her, angels, through the skies" [Handel], he
+ranged through the entire gamut of tone-colour. As Edgardo in
+Donizetti's _Lucia di Lammermoor_, he launched the "Maladetta" phrase
+of the curse with a voice that was almost "white" with frenzied rage;
+while the pathetic sombre quality he employed in the "_Fra poco a me
+ricovero_" fitly accorded with the despairing mood and gloomy
+surroundings of the hapless Edgardo.
+
+Some singers control but two colours or timbres--the very clear (open)
+and the very sombre (closed), which they exaggerate. In reality,
+however, the gradations between them can be made infinite by the
+artist who is in possession of the secret--especially if he has the
+ability to combine Colour with Intensity.
+
+An illustration of this is found in the example cited in the opening
+paragraph of the present work:--"For now is Christ risen." Not only
+did Mme. Tietjens make a gradual _crescendo_ from the first note to
+the climax, but the tonal colours were also subtly graduated from a
+comparatively sombre quality to one of the utmost clearness and
+brilliance.
+
+[Music: As sung by Mme. Tietjens
+
+For now is Christ risen, for now is Christ risen from the dead.]
+
+As contrasting examples in which the two principal colours may be
+employed effectively, I may cite the Bacchic air, "_Ô vin, dissipe la
+tristesse_," and the pensive monologue, "_Être, ou ne pas être_," both
+from the opera _Hamlet_, by Ambroise Thomas. The forced, unnatural
+quality of the first calls for the use of a clear, open, brilliant
+timbre.
+
+[Music:
+
+Ô vin, dissipe la tristesse
+Qui pèse sur mon coeur!
+A moi les rêves de l'ivresse,
+Et le rire moqueur!]
+
+But for the second, "To be, or not to be":
+
+[Music:
+
+Être, ou ne pas être! ô mystère!
+Mourir! dormir, dormir!]
+
+a sombre, closed timbre is necessary. The opening recitative of
+Vanderdecken in _Der fliegende Holländer_ by Wagner would be absurd,
+and utterly out of harmony with the character and his surroundings, if
+sung in the open timbre. Perhaps I ought to explain that "open" (_voix
+claire_, Fr.), and "closed" (_voix sombre_, Fr.), are technical terms,
+of which the equivalents are accepted in all countries where the art
+of singing is cultivated; terms that apply to _quality_ of tone, not
+to the _physical_ process by which these effects are produced. Such a
+mistake is not infrequently made by vocal physiologists who are not
+practical musicians or singing-teachers. Nor must the term "clear
+timbre" be understood to mean the "white voice" ("_voix blanche_," or
+"_voce bianca_"); this, like the guttural timbre, being only
+occasionally employed for the expression of some violent passion, such
+as hate.
+
+Like the admirable paintings of Eugène Carrière, for instance his
+masterly portrait of Paul Verlaine, a song, sometimes an entire rôle,
+may be worked out in monochrome; though the gradations of tint are
+numerous, they are consistently kept within their preconceived
+colour-scheme. Some few exceptional singers, like Jean-Baptiste Faure
+or Maurice Renaud, have this gift of many shades of the one colour in
+their singing of certain rôles. The colour is determined by the
+psychological character of the personage portrayed; a gay, reckless
+Don Giovanni calls for a brighter colouring throughout than that
+necessitated by the music allotted to a gloomy Vanderdecken or an
+embittered and vengeful Rigoletto. One may, therefore, formulate the
+following rule: The general character of the composition will decide
+the tonal colour appropriate for its general interpretation; the
+colouring necessary for its component phrases will be determined by
+the particular sentiment embodied in them. Emotions like sorrow, fear,
+despair, will find fitting expression in the sombre quality of voice,
+graduated in accordance with the intensity of the emotion. The
+opposite sentiments of joy, love, courage, hope, are fittingly
+interpreted by gradations of the clear and brilliant timbre. The dark
+or sombre voice will be used in varying shades for the recitative from
+_Samson_ (Handel), "Oh, loss of sight:"
+
+[Music: Oh, loss of sight, of thee I most complain!]
+
+while the clearest and most brilliant timbre possible to be obtained
+is plainly indicated for the same composer's "Sound an alarm!" from
+_Judas Maccabæus_.
+
+[Music: Sound an alarm, your silver trumpets sound!]
+
+It was a rule formulated by the old Italian school of singing, when
+_l'arte del bel canto_ in its true sense did really exist, that no
+phrase--musical or verbal--should be repeated with the same nuances.
+Very many instances might be given of the happy effect obtained by
+observing this rule. One will suffice. It is taken from the Lamento of
+Queen Catherine (of Aragon), who, slighted by Henry VIII. for Anne
+Boleyn, sighs for her native Spain.
+
+[Music: Lamento
+
+Henri VIII: Act IV
+
+Saint-Saëns
+
+Mon Espagne chérie! Mon Espagne chérie!]
+
+Sudden contrasts of colour are of great dramatic effect. A good
+illustration is found in the air "_Divinités du Styx_," from Gluck's
+_Alceste_. This contrast is still further heightened by a sudden
+change of both Intensity and Tempo.
+
+[Music:
+
+Divinités du Styx!
+Divinités du Styx!
+Ministres de la mort!]
+
+This last phrase, "_Ministres de la mort!_" should be sung in a very
+sombre voice of almost guttural character.
+
+It is, indeed, in the recitatives and declamatory passages of Gluck,
+Handel, Sacchini, that lyric artists will find unsurpassable material
+for study. Requiring, as such works do for their perfect
+interpretation, all the resources of Colour, Accent, and Phrasing,
+such study is the best possible preparation for the fitting musical
+presentment of the lyric drama in some of its later phases.
+
+Colour, then, is the basic element of Style in singing. It is
+reinforced by Accent, which, as the name implies, is the accentuation
+of details that require to be brought into prominence. This subject,
+therefore, next claims attention.
+
+       *       *       *       *       *
+
+ACCENT
+
+In singing, two kinds of accent are recognized, the Musical accent,
+and the Poetic, or Verbal, accent. The first appertains to the domain
+of sound; the second, to the domain of significance. The first, for
+æsthetic reasons, throws into relief certain tones of a musical
+phrase; the second brings into prominence the sentiment underlying the
+poem or text. Note, also, that in spoken declamation, accent applies
+to a syllable only; in singing, the verbal accent affects an entire
+word.
+
+In its relation to Style, the Musical accent must be carefully
+distinguished from the Metrical accent which is determined by Time, or
+Measure, as well as from the Verbal accent whereby the import of a
+word is rendered clear to the listener. Here is an example of Musical
+accent, from Act III of Verdi's _Ballo in Maschera_:
+
+[Music: Saper vorreste di che si veste quando l'è cosa ch'ei vuol
+nascosa.]
+
+The accents (marked thus [accent symbol]) give to the musical phrase a
+piquancy that is admirably in keeping with the gay and careless
+character of the page, Oscar, who sings it. In fact, as regards Style,
+Musical accent is particularly valuable in song for the purpose of
+setting forth the true character of the music. Hence, it may be
+regarded as a means of characterization.
+
+This use of accent for characterization is also quite distinct from
+its use with "accidentals," or tones foreign to the prevailing
+tonality. In the former case, sentiment dictates its employment; in
+the second, the accent guarantees, as it were, the accuracy of the
+singer's intonation. By the faint stress laid on the foreign tone,
+the listener is assured that the executant is not deviating from the
+true pitch. In the following examples, the tones marked [accent
+symbol] are "accidentals," and for that reason should receive a faint
+stress. The first example is from _La Forza del Destino_.
+
+[Music: Verdi
+
+Madre, Madre, pietosa Vergine, perdona al mio peccato, m'aita
+quell'ingrato]
+
+[Music: "Je dis que rien"
+
+Carmen: Act III
+
+Bizet
+
+Vous me protégerez, Seigneur!]
+
+These different uses of accent are well illustrated in the following
+example.
+
+[Music: "Come unto Him"
+
+Messiah
+
+Handel
+
+Take His yoke upon you, and learn of Him.]
+
+The tone allotted to the second syllable of the word "upon" is
+accentuated to affirm the accuracy of the singer's intonation; the
+slight emphasis of the word "Him" brings into relief the meaning of
+the text. This latter, then, is an illustration of Verbal, or
+"Poetic" accent which, I repeat, throws into relief, without
+consideration of its musical value or position, some word of special
+significance in the verbal phrase. To render the poetic meaning of the
+text clear to the listener, a correct use of verbal accent is
+imperative. Its importance and effect, particularly in recitative and
+declamatory singing, are analogous to the importance and effect of
+emphasis in spoken language. The example is from _Samson_ (Handel):
+
+[Music: O loss of _sight_, of _thee_ I _most_ complain.]
+
+Here I may point out that in _cantabile_ phrases the stream of sound,
+notwithstanding its division into syllables by the organs of
+articulation--lips, tongue, etc.--should pour forth smoothly and
+uninterruptedly. The full value of each tone must be allotted to the
+vowel; the consonants which precede or end the syllables are
+pronounced quickly and distinctly. In declamatory singing, on the
+contrary, the consonants should be articulated with greater
+deliberation and intensity.
+
+[Music: Handel (Messiah)
+
+I _know_ that my Redeemer liveth.]
+
+Here an emphatic accent on the consonant "n" irresistibly suggests the
+idea of knowledge; that is, of absolute certainty, not of mere
+belief.
+
+Very frequently the metrical accent does not coincide with the
+syllabic accent: the musical accent will fall on an unaccented
+syllable, or vice versa. Particularly is this the case when the
+composer is not perfectly familiar with the rules that govern the
+prosody of the language to which he is setting music. In the operas of
+Meyerbeer many passages occur in which it is necessary to readjust the
+syllables to the notes on account of their misplaced accent. Here is
+an illustration from Hoël's Grand Air in _Le Pardon de Ploërmel_
+(Meyerbeer), Act II. (Note that the tonic accent in French falls
+_always_ on the last pronounced syllable.)
+
+[Music: (as printed)
+
+Et ranimez, ra_ni_mez ma foi.]
+
+The error is easily remedied:
+
+[Music: (should be sung)
+
+Et ranimez, rani_mez_ ma foi.]
+
+In the contralto aria "He shall feed His flock," in Handel's
+_Messiah_, the unaccented word "shall" falls on the most strongly
+accented note of the bar. If performed thus, it would give a most
+aggressive character to the passage, implying that some one had
+previously denied the assertion. This would be entirely at variance
+with the consolatory and peaceful message that is contained in the
+text and shadowed forth in the music.
+
+[Music: (as printed)
+
+He shall feed his flock like a shepherd.
+
+(should be sung)
+
+He shall feed his flock like a shepherd.]
+
+Instances of faulty syllabic accent abound in Handel's works, both his
+English oratorios and his Italian operas. Many examples could be
+quoted. Here is a phrase from the beautiful air for mezzo-soprano sung
+by Ruggiero in the opera of _Alcina_.
+
+[Music: (as printed)
+
+Verdi prati.
+
+(should be sung)
+
+Verdi prati.]
+
+In Mendelssohn's _Elijah_, the following phrase is nearly always sung
+as written, unless the singer is familiar with the best traditions:
+
+[Music: Give me _thy_ son!]
+
+It may be that the artists who slavishly follow the published text
+fear being accused of altering the composer's music, or are ignorant
+of the fact that there exists a better version, which is this:
+
+[Music: Give _me_ thy son!]
+
+It will be seen that the music is not changed in the least; the
+musical and verbal accents have been merely readjusted and made to
+coincide.
+
+In order to avoid the disagreeable effect of singing one half-bar
+_andante_ to the syllable "_si_" (pronounced like "zee" in English),
+the following phrase of Marguerite de Valois in _Les Huguenots_
+(Meyerbeer), Act II, is changed thus:
+
+[Music: (as printed)
+
+en aucun temps n'eût choisi mieux.
+
+(should be sung)
+
+en aucun temps n'eût choisi mieux.]
+
+       *       *       *       *       *
+
+INTENSITY
+
+In musical terminology every gradation of volume in sound, from the
+faintest to the loudest, enters into the category of Intensity. One of
+the accepted rules of the _arte del bel canto_ was, that every
+sustained tone should be coloured by some graduation of intensity.
+Thus the ability to augment and diminish the volume of tone was so
+highly esteemed--indeed, so essential--that singers spent much time in
+acquiring the _messa di voce_, that is, the steadily graduated
+emission of tone from the softest degree to the loudest and again to
+the softest: _p_ [crescendo symbol] _f_ [decrescendo symbol] _p_. This
+exercise invariably formed a part of each day's study, and was
+practised on several vowels throughout the scale, except the extreme
+tones, save in rare instances. It was, in fact, indispensable that the
+singer should be able to colour every tone in three forms of graduated
+intensity: Soft to loud _p_ [crescendo symbol] _f_; loud to soft _f_
+[decrescendo symbol] _p_; and soft to loud and soft again _p_
+[crescendo symbol] _f_ [decrescendo symbol] _p_.
+
+This command of intensity, therefore, is invaluable. But it is even
+more effective when the artist has the power to combine the various
+gradations of Intensity with different shades of Colour; in other
+words, when he can sing a tone _crescendo_ and _diminuendo_ in the
+clear and sombre timbres.
+
+The passage, already cited, from Alceste's great air in Gluck's opera
+_Alceste_, furnishes an admirable illustration of the dramatic emotion
+created by a sudden contrast of Intensity as well as Colour. In the
+invocation "Ye ministers that dwell in night!" the clear timbre is
+used with gradually increasing volume until at the phrase (sung
+_adagio_) "Ministers of death!" the timbre changes abruptly to a
+sombre quality with sinister effect, which effect is augmented by
+being sung _pp_.
+
+[Music: Gluck (Alceste: Act I)
+
+Divinités du Styx!
+Divinités du Styx!
+Ministres de la mort!]
+
+A still more striking example of the impressive effect produced by
+sudden contrasts of intensity is offered in the magnificent air "Total
+Eclipse," from _Samson_ (Handel). In it, a judicious use of
+tone-colour, accent, and variations of tempo, all combine to elucidate
+in the highest possible degree the idea of both composer and poet:
+
+[Music: Sun, moon and stars, sun, moon and stars are _dark_ to me.]
+
+The words "Sun, moon and stars" should be given strongly accentuated,
+and the tempo gradually accelerated. The repetition of the phrase
+should be sung with still greater intensity; then, at the passage "are
+dark to me," the colour of the voice changes to one of very sombre
+quality, and the original tempo is resumed. The first consonant in the
+word "dark" should receive a slight stress.
+
+The _crescendo_ has always been a favourite device of composers,
+particularly of those who write for the lyric theatre. It was an
+effect held in high esteem by Rossini, who introduced it constantly in
+his operas--witness his overtures and ensembles. All are familiar with
+the wonderful _crescendo_ which precedes the appearance of the Knight
+of the Swan, in _Lohengrin_, where the sonorities are augmented by
+gradual additions of voices and instruments until the culminating
+point is reached. An instance more poignant still is found in the
+great "Liebestod" in _Tristan und Isolde_.
+
+Although Hérold, the French composer, observed that in working up to a
+climax one should begin a long way off, a singer must be careful not
+to reach his maximum of vocal sonority before the musical climax is
+attained. The tenor Duprez created a sensation that is historic, in
+the long _crescendo_ passage in the fourth act of _Guillaume Tell_, by
+gradually increasing the volume of sound, as the phrase developed in
+power and grandeur, until the end, which he delivered with all the
+wealth of his exceptionally resonant voice.
+
+Before closing this chapter on Intensity, I should advise singers
+whose voices possess great natural volume or power not to abuse this
+valuable quality by employing it too frequently. The ear of a listener
+tires sooner of extreme sonority than of any other effect. Talma, the
+great actor, wrought many reforms on the French dramatic stage, not
+only in costume--prior to his time Greek or Roman dress only was worn
+in tragedy--but also in the manner of delivering tragic verse. Against
+the custom, then prevalent, of always hurling forth long tirades at
+full voice, he inveighed in these terms: "Of all monotonous things,
+_uproar_ is the most intolerable" (_de toutes les monotonies, celle de
+la force est la plus insupportable_). An artistic singer will use his
+most powerful tones, as a painter employs his most vivid colours,
+sparingly.
+
+       *       *       *       *       *
+
+PHRASING
+
+Phrasing is simply musical punctuation. In singing, it may be
+separated, like accent, into two divisions: Musical and Poetic, or
+Verbal, phrasing. If the following passage were performed by an
+instrument, it would not require any particular grouping or phrasing:
+
+[Music]
+
+But when sung, it would fail in effect if not performed with a very
+slight pause after the word "nobis," thus:
+
+[Music: Ave Maria
+
+Luzzi
+
+Ora pro nobis, Maria.]
+
+As another illustration of the excellent effect of correct phrasing
+may be cited the song _Psyché_, by Paladilhe. Its effect is heightened
+if the musical phrasing be judiciously combined with a change in
+Colour and Intensity:
+
+[Music: Quand il les flatte, j'en murmure!]
+
+(Should be sung):
+
+[Music: Quand il les flatte, j'en murmure!]
+
+It is the clashing of the Musical and Verbal phrasings that often
+makes translations of lyric works unsatisfactory. The two phrases are
+independent, not welded together. So far from being "Music wedded to
+immortal Verse," these instances resemble those _ménages_ wherein each
+unit leads a separate existence. When this is the case, the singer
+must decide as to whether the musical phrase, or the poetic phrase,
+demands the greater prominence.
+
+The following Phrasing and Colouring would be good and effective if
+the passage were played on an instrument:
+
+[Music]
+
+But if sung thus, as it sometimes is by careless artists who pay
+little attention to the verbal significance of what they are singing,
+it would sound absurd, because the poetic phrasing is entirely
+ignored. The correct way of performing the passage (from the aria "Voi
+che sapete," in Act II of Mozart's _Nozze di Figaro_) is the
+following:
+
+[Music: Donne, vedete, s'io l'ho nel cor.]
+
+In the next extract (from Act IV in _Un Ballo in Maschera_, by Verdi),
+it will be noticed how oblivious the composer was of the claims of
+verbal phrasing. The whole _scena_ is admirably written for the
+voice, and contains many graceful passages of great melodic charm. But
+although the music may claim to represent the character of the
+situation as a whole, it is disfigured by the complete disregard of
+the sense of certain groups of words:
+
+[Music: Come se fosse l'ultima ora del nostro amor, come se fosse
+l'ultima, l'ultima ora, ora del nostro amor, del nostro amor? Oh, qual
+presagio m'assale, come se fosse l'ultima ora del nostro amor, se
+fosse l'ultima del nostro amor]
+
+The words "_come se fosse l'ultima ora del nostro amor_," constitute
+one phrase. It would be extremely difficult, impossible even, for
+many, to sing the passage in one breath. But the first musical phrase
+ends after the word "_ultima_;" to separate it from the next word,
+"_ora_" (second and third bars), thus: "last--hour," is impracticable.
+It would be out of the question to destroy the musical phrase by
+breathing after the word "_ora_," in the third bar. If the text is
+phrased when spoken as it is when sung, the incongruity is at once
+apparent. The published score gives a pause [fermata symbol] after the
+word "_ora_:" "_ultima ora_ [fermata symbol] _del nostro amor_." This
+phrasing is good and effective, especially if the artist changes at
+once to the sombre quality after the pause, and finishes the phrase
+_piano_ and _rallentando_. One very often hears it, however, given
+with a pause for breathing after the high _a_; the unfortunate singer
+having prolonged the tone until, in order to continue, he is compelled
+to take in more air. The result is the absurd phrasing given below:
+
+[Music: l'ultima ora del nostro amor]
+
+In the final cadenza, the composer has cut out the word "ora"
+altogether. The whole air is of interest to the musical student, as it
+shows clearly the little value attached by Verdi, at that period of
+his career, to the exigencies of the verbal or poetic phrase. This
+neglect of the verbal punctuation is in marked contrast to the care he
+bestowed on it in his later works, witness _Aida_, _Otello_, and
+particularly _Falstaff_.
+
+Here I may say that it is sometimes necessary to alter the words on
+account of the impossibility of performing certain passages as
+written. In the earlier published scores of _Samson et Dalila_
+(Saint-Saëns), the following passage in Act II, "Mon coeur s'ouvre à
+ta voix," as the composer wrote it, occurs as one phrase:
+
+[Music: Ah! réponds à ma tendresse!]
+
+This being impracticable of execution in one phrase, and there being
+no opportunity of retaking breath until the close of the passage, it
+was altered in the later editions, and now stands thus:
+
+[Music: Ah! réponds, réponds à ma tendresse!]
+
+This device of repetition, applied either to a word or to part of a
+phrase, is perfectly justifiable in cases where the artist, for
+physical reasons, is unable to sing the phrase in one breath. I give
+an excerpt from Weber's _Der Freischütz_ (Grand Air, Act II):
+
+[Music: Oh lovely night!]
+
+This may be sung:
+
+[Music: Oh lovely, lovely night!]
+
+The concluding bars of the waltz-song in Act I of Gounod's _Roméo et
+Juliette_, are often phrased as indicated in the brackets, in order to
+give the singer a chance to take breath, which is done after the _c_
+natural:
+
+[Music: Ah! (comme un trésor.) comme un trésor.]
+
+As discrepancies between the musical and verbal phrases, such as those
+I have instanced, abound in certain of the old operas which still keep
+the stage and form a part of the permanent répertoire of every lyric
+theatre, the artists singing them are compelled to choose between
+sacrificing the words or the music. The former alternative is
+generally preferable, the musical phrase in many such cases being of
+the greater relative importance. Another way is, to meet the
+difficulty boldly by supplying another text which mates itself more
+happily with the musical phrase. Personally, I adopt the latter
+alternative without hesitation, when preparing artists to sing these
+works.
+
+       *       *       *       *       *
+
+Some minor effects utilized in Style in singing may be briefly alluded
+to: _Portamento_; variations of _Tempo_.
+
+
+PORTAMENTO
+
+This is effected by the voice gliding from one tone to another, and is
+equally available on stringed instruments, the violin or 'cello, the
+mandoline or zither. It is a grace of style much abused by inartistic
+singers. Being an ornament, good taste dictates that it be used
+sparingly. A frequent sliding from one tone to another is a grave
+fault, and most disagreeable to a cultivated ear. To sing _legato_ is
+one thing; to sing _strisciato_ is another. Hence, its use on two
+consecutive occasions is rarely admissible. But without a sober and
+discreet use of the _portamento_, the style of the singer appears
+stiff, angular--lacking, as it were, in graceful curves.
+
+It must always be performed by carrying the tone and syllable to the
+next tone; never by anticipating the latter:
+
+[Music: Mozart (Nozze di Figaro)
+
+Do Fa Deh vieni, non tardar,]
+
+But it sometimes happens that, while desiring this grace, the composer
+does not indicate his wish quite correctly. Here is an instance by F.
+Thomé:
+
+[Music: Et nous dansions un boléro.]
+
+Were it performed as printed, it would be very bad style, as it
+violates the rule that the succeeding syllable shall not be
+anticipated. Undoubtedly, what the author wished is the following:
+
+[Music: Et nous dansions]
+
+Sometimes the composer himself indicates clearly his intention that
+this effect should be used, as in the following examples:
+
+[Music: Reyer (La Statue)
+
+Pour s'évanouir, au réveil.]
+
+[Music: Celeste Aida
+
+(Aida: Act I)
+
+Verdi
+
+Del mio pensiero tu sei regina, tu di mia vita sei lo splendor.]
+
+[Music: Song "Heure du Soir" for Tenor
+
+Léo Delibes
+
+Partout s'élève un chant bien doux, un chant bien doux,
+Sous la brise toute embaumée.]
+
+[Music: From "La Bohème," Act I
+
+Puccini
+
+Mi chiamano Mimi, ma il mio nome è Lucia.]
+
+(Notice the phrases marked _a_ and _b_.)
+
+The words and indications for the use of the _portamento_ in each of
+these last four examples are by the respective composers, and as
+printed in the published editions.
+
+A _portamento_ should never be sung so slowly as to convey the idea of
+a badly executed chromatic scale; and, as a rule, it is best not to
+use one between any lesser interval than a third, unless for some
+particular effect, or at the close of a slow movement, as in the aria
+"He was despisèd," in _The Messiah_:
+
+[Music: and acquainted with grief.]
+
+It is also effective in connecting syllables in phrases of a smooth,
+lyric character:
+
+[Music: Nozze di Figaro: Act II
+
+Mozart
+
+(as printed)
+
+in braccio al idol mio.
+
+(should be sung)
+
+in braccio al idol mio.]
+
+The _portamento_ being an embellishment that pertains to the
+_cantabile_, it is very little used in declamatory singing.
+
+But frequently in the Recitatives of classic works occur phrases of
+declamatory recitative, interspersed with passages that are purely
+lyric in structure. To each of these divisions must be given its
+appropriate style. For instance, after the opening phrases of
+Obadiah's exhortation, "Ye people, rend your hearts," in _Elijah_, up
+to the end of the phrase "Return to God," all is purely lyric
+declamation. But at the words, "For He is slow to anger, and
+merciful," this should cease, and the succeeding phrases be given with
+all the graces that are permissible in _cantabile_ singing; not in the
+hard, dry manner affected by some of the modern tenors in oratorio.
+
+[Music: I therefore say to ye, Forsake your idols, return to God; for
+He is slow to anger, and merciful.]
+
+       *       *       *       *       *
+
+VARIATIONS OF TEMPO
+
+These are of value in bringing out the musical and poetic significance
+of certain compositions; notably the operas of Bellini, Donizetti, and
+the earlier works of Verdi. But I would caution singers to exercise
+discretion in this much-abused effect. Variations of Tempo, the
+_ritardando_, _accelerando_, and _tempo rubato_, are all legitimate
+aids demanded by Expression. But unless their use is determined by
+sound judgment and correct musicianly taste, the effect speedily
+becomes vulgar and monotonous. Knowledge, and a taste formed in good
+schools, must be the guide of the vocalist in the use of variations of
+tempo.
+
+I have said that the operas of Bellini, Donizetti and Verdi abound in
+instances requiring the hastening or slackening of the tempo. But the
+device is also highly esteemed by the ultra-modern Italian school, as
+may be seen in studying the scores of Puccini, Mascagni and
+Leoncavallo.
+
+Here is an illustration of its effective use in the air "Connais-tu le
+pays?" from _Mignon_ (Act II), by Ambroise Thomas. Madame Christine
+Nilsson (Countess Casa Miranda), who "passed" the rôle with the
+composer, always sang the phrase thus, although these indications do
+not appear in the published version:
+
+[Music: Hélas! que ne puis-je te suivre, vers ce rivage heureux, d'où
+le sort m'exila!]
+
+Again, in the fine song _Der Asra_, by Rubinstein, the musical, as
+well as the dramatic, effect of the poem is heightened by the use of
+the _accelerando_, which interprets with musical vividness the
+impetuous avowal by the slave of his passion for the princess, after
+his calm answer to her questions as to his name and birthplace.
+
+"_Ich heisse Mahomet, ich bin aus Yemen, und mein Stamm sind jene
+Asra, welche sterben, wenn sie lieben._" (HEINE.)
+
+[Music: und mein Stamm sind jene Asra, welche sterben, wenn sie
+lieben.]
+
+
+
+
+CHAPTER IV
+
+TRADITION
+
+
+Tradition plays a more important part, perhaps, in the interpretation
+of the classic composers' writings for the voice than it does in their
+purely instrumental works. The old masters left few--sometimes not
+any--indications as to the manner in which their music should be
+rendered. Thus its proper performance is largely determined by
+received oral tradition. The printed scores of the classics, except
+those that have been specially edited, throw little light on their
+proper interpretation, or even at times on the actual notes to be
+sung. To perform exactly as written the operas of Gluck, notably
+_Armide_ and _Orphée_, the operas of Mozart, the Italian operas and
+English oratorios of Handel, the oratorios of Bach, Haydn, and
+Mendelssohn, would be to do the greatest injustice to these composers
+and their works.
+
+It is a prevalent idea that all departures from the published text are
+due either to caprice, or to vanity and a desire for personal display
+on the part of the soloist. As though singers had a monopoly of these
+defects!
+
+Let us consider some of the principal causes of such changes in the
+text, and the reasons why these modifications do not always appear in
+the published versions.
+
+In the original editions of many of the earlier operas, as those of
+Mozart, etc., the unaccompanied recitative (_recitativo secco_) is
+not barred. As with the plain-chant of the church, only the _pitch_ of
+the tone is indicated. Its _length_ was left to the discretion of the
+artist, who was supposed to be familiar with the accepted style of
+delivery termed "_recitativo parlante_." The example is from the
+recitative "Dove sono," in Act III of _Le Nozze di Figaro_, by Mozart:
+
+[Music: E Susanna non vien! Sono ansiosa di saper]
+
+This should be sung as below:
+
+[Music: E Susanna non vien! Sono ansiosa di saper]
+
+The substitution of another note for the one actually written, both in
+Recitative and Aria, was also strictly regulated under the system or
+convention then in vogue, one perfectly understood both by composer
+and singer.
+
+In all the earlier Italian operas, and in the English oratorios of
+Handel, this system was followed:
+
+[Music: Recit. "Behold, a Virgin shall conceive"
+
+Messiah
+
+Handel
+
+(sung)
+
+Emmanuel;
+
+(printed)
+
+and shall call his name Emmanuel;]
+
+[Music: Aria. "I know that my Redeemer liveth"
+
+Messiah
+
+Handel
+
+(sung)
+
+liveth
+
+(printed)
+
+I know that my Redeemer liveth]
+
+[Music: Recit. "Non più di fiori"
+
+La Clemenza di Tito
+
+Mozart
+
+(sung)
+
+Vitellia! costanza
+
+(printed)
+
+Ecco il punto, o Vitellia! d'esaminar la tua costanza]
+
+[Music: "In questa tomba"
+
+Beethoven
+
+(sung)
+
+oscura
+
+(printed)
+
+In questa tomba oscura]
+
+This substitution, therefore, of another note--a tone or semitone
+higher or lower, according to the phrase--is not only legitimate but
+essential in all music written in the Italian manner.
+
+Another cause of changes being necessary in the vocal part of many of
+the older classic writers, particularly of oratorio, is the frequently
+faulty syllabic accentuation. I have already mentioned this defect in
+the chapter on Accent. Handel, for instance, although living nearly
+all his life in England, never became quite master of its language;
+hence the numerous cases of the misplacing of syllables in his
+oratorios. This defect is also noticeable, but not in the same degree,
+in his Italian operas. The books of _Elijah_ and _St. Paul_
+(Mendelssohn), and _The Creation_ (Haydn), were originally written in
+German, and therefore suffer somewhat in this respect when the
+translated English version is given. This fault is also noticeable in
+the English versions of Bach's _Passion_ (St. Matthew), and
+Mendelssohn's _Psalm CXIV_. In the first quoted of these two works, in
+the response for Double Chorus to the question, "Whether of the twain
+will ye that I release unto you?" the accent falls on the first
+syllable "_Ba_-rab-bas"; in the second of the two works (_114th
+Psalm_), the accent is placed on the last syllable, thus:
+"Hal-le-lu-_jah_." Neither of these accentuations is in accordance
+with English custom.
+
+A singer, therefore, is perfectly justified in rearranging the
+syllables in order that, as far as possible, the musical and verbal
+accents shall coincide. But there are rigorists, unaware of the usages
+and conventions previously spoken of, who are very severe in their
+judgment when any deviation is made from the printed score with which
+they follow the performance of classic works. Such severity is
+unmerited, because unjust. Although such persons sometimes inveigh
+against any and every change from the strict letter of the printed
+music--ignorant of the possibility, that only in this way can its
+spirit be respected--the changes in a multitude of cases are essential
+because due (1) to reverential deciphering of an obsolete musical
+notation, (2) to improvements in musical instruments, or (3) to the
+sanction and authority of the composer himself.
+
+Sometimes it is an orchestral conductor who reproaches the solo
+singers with their want of respect for the composer, because he hears
+at times interpolations or changes which find no place in his own
+score. The singers are accused of "altering the composer," of "taking
+liberties with the text." And yet these very changes may be
+traditionally correct; they may be in accordance with rules and
+conditions prevalent at the time the music was written, and employed
+on account of a desire to interpret the composer's own intentions, and
+not from mere vanity or caprice.
+
+Nor are these necessary changes and departures from the printed scores
+of the classics confined to the vocal parts of the music composed by
+the old masters. As a matter of fact, the deviations which, in
+performance, are sometimes made from the printed edition of a musical
+composition, arise from a variety of causes.
+
+One of these is the discrepancy that exists between various editions
+of the same work; and sometimes the confusion is complicated by
+different versions having been prepared by the composer himself. This
+is notably the case with Gluck's _Orphée_, first written to an Italian
+libretto by Calzabigi and produced at Vienna. When Marie Antoinette
+called her former Viennese singing-master, Gluck, to Paris, she gave
+him an opportunity of displaying his genius by facilitating the
+production of his _Iphigénie en Aulide_ at the Opéra, in 1774. Its
+enthusiastic reception recalled to the composer the like success which
+had attended the production of his _Orfeo_ at Vienna. He immediately
+set to work to revise it for the Paris Opéra, and fit it to a new
+French text, the latter supplied him by Moline.[2]
+
+[Footnote 2: Sir George Grove, in the "Dictionary of Music and
+Musicians," P. 611, says that the French text is by _Molière_! This is
+a self-evident error.]
+
+But the title-rôle in the original Italian version was written for,
+and sung by, Guadagni, an artificial contralto (_contralto musico_).
+In its newer French dress the part was transposed and rearranged for
+the tenor Legros; who, judging from the extreme altitude of the
+_tessitura_ employed, must have possessed either a _haute-contre_, or
+a very high light-tenor voice, and who may have employed the falsetto.
+This high _tessitura_, combined with the fact that the pitch has risen
+considerably since it was composed, renders the French version
+impracticable for tenors of the present day. Here are the concluding
+bars of the famous air as written in the original Italian version, and
+the same phrase as altered by Gluck, when produced in Paris.
+
+[Music: "Che farò senz' Euridice?"
+
+Dove andrò? Che farò? Dove andrò senza il mio ben?
+
+(As originally written by Gluck for the Italian version, Vienna.)]
+
+[Music: "J'ai perdu mon Eurydice"
+
+Sort cruel, quelle rigueur! Je succombe à ma douleur, à ma douleur, à
+ma douleur!
+
+(As altered by Gluck for Paris; sung by the tenor Legros. From a
+manuscript copy, Bibliothèque de l'Opéra.)]
+
+[Music: "J'ai perdu mon Eurydice"
+
+Sort cruel, quelle rigueur! Je succombe à ma douleur, à ma douleur, à
+ma douleur!
+
+(As sung by Mme. Viardot-Garcia, Théâtre-Lyrique, Paris; the part
+being restored to the original voice and key, but the change at the
+end, made for Legros, retained.)]
+
+The finale to the first act was also changed; a tumultuous "hurry" for
+strings, evidently designed to accompany the change of scene to Hades,
+being now replaced by a florid air, probably introduced at the desire
+of the principal singer as a medium for the display of his vocal
+virtuosity; a concession often exacted from composers of opera. This
+interpolated air was for a long time attributed to a composer--Bertoni--who
+had himself composed an opera on the subject of _Orphée_. Later
+researches have, however, proved that this air is by Gluck himself,
+taken from _Aristeo_, one of his earlier works. When the famous
+revival of _Orphée_ took place at the old Théâtre-Lyrique in Paris,
+the rôle of Orphée was restored to the type of voice--contralto--for
+which it was originally composed, and confided to Mme. Pauline
+Viardot-Garcia. She retained the air introduced for the tenor Legros,
+but of course transposed, and with a reorchestration by Camille
+Saint-Saëns; the now famous composer having at that time, by the
+request of Berlioz, undertaken to continue and complete the revision
+of Gluck's complete works, known as the Pelletan Edition.[3]
+
+[Footnote 3: See very interesting article signed C. Saint-Saëns in the
+_Écho de Paris_ for July 23, 1911.]
+
+Other changes from the first Italian score were also made by Gluck in
+the later French version. Here is an example; being the recitative
+immediately preceding the great air of Orpheus in the last act:
+
+[Music: (Original Italian version, as written for Vienna.)
+
+Misero me! la perdo, e di nuovo, e per sempre! O legge! O morte! O
+ricordo crudel! Non ho soccorso, non m'avanza consiglio! Io veggo solo
+(Oh fiera vista!) il luttuoso aspetto dell'orrido mio stato! Saziati,
+sorte rea! son disperato!]
+
+[Music:
+
+C'est moi, c'est moi, qui lui ravis le jour.
+Loi fatale! Cruel remords!
+Ma peine est sans égale,
+Dans ce moment funeste,
+Le désespoir, la mort,
+C'est tout ce qui me reste!
+
+(As written for the Paris version, the rôle of Orphée being then sung
+by a tenor.)]
+
+[Music:
+
+C'est moi, c'est moi, qui lui ravis le jour.
+Loi fatale! Cruel remords!
+Ma peine est sans égale,
+Dans ce moment funeste,
+Le désespoir, la mort,
+C'est tout ce qui me reste!
+
+(As sung by Mme. Viardot-Garcia, the rôle being then restored to the
+contralto voice as in the Italian version, while the changes made by
+Gluck for the Paris version were retained. This is now definitively
+adopted at the Opéra-Comique.)]
+
+Again, discrepancies exist between various published copies of the
+same work, arising from the fact that sometimes the editors of these
+revisions may have mistaken the intentions of the composer. Or,
+influenced by pardonable human vanity, they may have felt impelled to
+collaborate more directly with the composer, by adding something of
+their own.
+
+There is valid reason for the additional accompaniments, with which
+Mozart has enriched the original scores of Handel's _Messiah_ and
+_Alexander's Feast_; and we have evidence of the skill, and can divine
+the reverence, with which these additions were accomplished. But how
+fatal would have been the results, had the delicate task been
+attempted by one in whom these qualities were lacking! Also, there is
+every excuse for the additions made to Gluck's _Armide_ by Meyerbeer
+for the Opera of Berlin; and we have the direct testimony of
+Saint-Saëns, who has examined this rescoring, as to the rare ability
+and artistic discretion with which the work has been done.[4]
+
+[Footnote 4: See _Écho de Paris_, _op. cit._]
+
+From this evidence it appears that in the score as left by Gluck, the
+trombones do not appear at all in _Armide_. The drums, and stranger
+still, the flutes, are heard only at rare intervals; while the whole
+orchestration--sometimes a pale sketch of the composer's
+intentions--shows a haste and lack of care in marked contrast with the
+pains bestowed on the scoring of _Alceste_, _Iphigénie_, and _Orphée_.
+The revisions and additions spoken of were undertaken by highly
+competent authorities, actuated only by the wish to restore in its
+purity the idea of the composer; and who to zeal, added the more
+valuable quality of discretion.
+
+Ancient music, owing to the development of and changes in the
+instruments for which it was composed, can rarely be given as written
+by the author. Even if the instruments of modern invention be
+eliminated, the orchestra of to-day is not the orchestra of Handel.
+The oboe, for example, has so gained in penetrating power that one
+instrument to each part now suffices; in Handel's time the feeble tone
+of the oboe rendered a considerable number necessary. The perfection
+of certain instruments, too, is the cause of modifications in the
+music written for them. The limited compass of the pianoforte, for
+example, was certainly the sole reason why Beethoven failed to
+continue in octaves the entire ascending scale in one of his sonatas.
+Had the piano in his day possessed its present compass, he would
+undoubtedly have written the passage throughout in octaves, _i.e._, as
+modern pianists play it. If a rigid adherence to the printed letter of
+ancient music is to be strictly observed, without consideration of the
+many causes that render this procedure undesirable, let consistency be
+observed by pushing the argument to its logical conclusion, _viz._,
+returning to the instruments used, and the composition of the
+orchestra that obtained, when these works were written. Those who
+accuse artists of introducing changes, of not performing the music as
+the composer wrote it, should be quite sure as to what the composer
+really did write, since many changes are made both before and after
+the work is printed. They should also be certain that these changes
+are not such as the composer may have, or would have, sanctioned,
+seeing that by their use his meaning is more clearly expressed.
+
+At the _Concerts Spirituels_, given at the Church of the Sorbonne,
+Paris, may be heard very excellent performances of Oratorio by ancient
+and modern composers, from Handel and Bach to Claude Debussy; though I
+do not know whether or no _l'Enfant prodigue_ (The Prodigal Son), by
+Debussy, is properly styled an oratorio, seeing that it was recently
+given in London on the stage as an opera. These performances at the
+Sorbonne are marked by a reverential attention to detail; the
+soloists, chorus and orchestra being very competent, and the
+conductor--M. Paul de Saunières--a musician of ability and experience.
+In spite of these great advantages, however, the works of several of
+the old classic composers suffer somewhat, by certain authentic
+traditions and conventions being either unknown or ignored. To cite
+only one instance out of many: At the Sorbonne, the opening bars of
+the second movement of the Recit. in _The Messiah_, "Comfort ye my
+people," etc., are performed as printed:
+
+[Music: The voice of him that crieth in the wilderness]
+
+This music is written in the Italian "manner," consequently its
+performance should be in conformity with the usages and conventions
+which obtained when the work was composed. One of these, as I have
+pointed out, was the substitution of one note for another in certain
+places; another, that in declamatory recitative, or _recitativo
+parlante_, the chord in the orchestra should come _after_ the voice
+("_dopo la parola_"). These words appear in many scores of the Italian
+operas, even of the present day. But when they do not, the musical
+director is supposed to be familiar with the custom. The following,
+therefore, is the authentic mode of performing the passage in
+question:
+
+[Music: The voice of him that crieth in the wilderness]
+
+Apart from these defects in the rendering of the ancient classics, it
+would be unjust not to acknowledge the great artistic merit and value
+of the performances, given--as Oratorio should be--in the church. To
+hear _l'Enfance du Christ_ (Berlioz) as performed at the Sorbonne,
+with its particular facilities for obtaining the _ppp_ effects of the
+distant or receding angelic chorus, is to be impressed to a degree
+impossible of attainment in the concert-room.
+
+Let those purists who resent any "tampering"--as they term it--with
+the composers' music listen to the following phrase, sung as it is
+printed in the ordinary editions:
+
+[Music: the first-fruits _of_ them that sleep.]
+
+Then let them hear it given according to the authentic and accepted
+tradition, and say which of the two versions most faithfully
+interprets the composer's meaning.
+
+[Music: the first-fruits of _them_ that sleep.]
+
+       *       *       *       *       *
+
+Let us now consider alterations which do not appear in the printed
+editions, and yet may have been made or sanctioned by the composer.
+
+In comparison with painting and sculpture, music and the literature of
+the theatre are not self-sufficing arts. They require an interpreter.
+Before a dramatic work can exist completely, scenery, and actors to
+give it voice and gesture, are necessary; before music can be anything
+more than hieroglyphics, the signs must be transmuted into sound by
+singers or instrumentalists. Wagner embodied this truth in his
+pathetic reference to _Lohengrin_: "When ill, miserable and
+despairing, I sat brooding over my fate, my eye fell on the score of
+my _Lohengrin_, which I had totally forgotten. Suddenly I felt
+something like compassion lest the music might never sound from off
+the death-pale paper." In other words, _Lohengrin_, though finished in
+every detail, was merely potential music. To make it anything more,
+the aid of singers and orchestra are essential.
+
+Composers and dramatic authors, in fact, _create_ their art-works; but
+it is their interpreters--actors, singers, instrumentalists--who
+_animate_ them, who breathe life into them. One of the inevitable
+consequences is, that the composer's ideal can never be fully
+attained.
+
+But changes in performance from the printed text of a composition are
+frequently the work of the composer himself. If really an artist, he
+is rarely perfectly satisfied with his completed work. The difference
+between his ideal and his materialization of it, is a source of
+anguish for him. The journey made by a vision of art from the brain
+that conceives it to the hand that imprisons it in marble, or depicts
+it in colour, or pens it in words or music, is a long one. And much
+grace or power, beauty or grandeur, is inevitably lost on the way.
+This is the explanation of the disappointment of all true artists with
+their creations. This is the origin of their endless strivings to
+perfect their works; the first embodiment is not a perfect
+interpretation of the artist's inspiration, and further reflection
+has revealed to him an improvement. The process is endless.
+
+    _A man's reach should exceed his grasp,
+        Or what is Heaven for?_
+
+If one wishes to surprise genius labouring to give birth to
+perfection, one should consult the later editions of Victor Hugo's
+works and note the countless emendations he made after their first
+publication--here a more fitting word substituted, there a line
+recast, elsewhere an entire verse added, or excised, or remodelled.
+
+This work of incessant revision is not restricted to poets. Composers
+of genius are also inveterate strivers after perfection, are
+continually occupied in polishing and revising their music. And not
+all the modifications they make, or sanction, are recorded in the
+printed versions. For many are the outcome of after-thoughts, of ideas
+suggested during the process of what I have called transmuting musical
+hieroglyphics into sound. Such modifications, usually decided upon in
+the course of a rehearsal--I am now considering particularly operatic
+works--are frequently jotted down, a mere scanty memorandum, on the
+singer's part or the conductor's score. But they are the work of the
+composer, or have received his approval, and, although not noted in
+the printed editions of his compositions, are transmitted orally from
+conductor to conductor, singer to singer, master to pupil. And thus a
+tradition is perpetuated.
+
+But the question of changes goes even further.
+
+Prior to the advent of Wagner, the singer was allowed great license
+in operatic works. This license was principally manifested in a
+two-fold form. The first is called _pointage_ (French), _puntatura_
+(Italian), and means the changing of the notes or contour of a musical
+phrase; the second is termed _changements_ or _variantes_ (Fr.),
+_abbellimenti_ or _fioriture_ (It.), and refers to the interpolation
+and addition of ornaments, _i.e._, embellishments and cadenzas.
+
+       *       *       *       *       *
+
+POINTAGE
+
+This, as I have said, is the technical term given to the modification
+or rearrangement of the notes of a phrase, so as to bring it within
+the natural capabilities of the artist singing the rôle. A few
+illustrations will make the nature of _pointage_ clear.
+
+In Rossini's _Guillaume Tell_, although it is written in a different
+style from his former works, whence less necessity for interpolations
+and modifications, occurs the following terrible passage for the
+principal baritone:
+
+[Music: Mais je connais le poids des fers, mais je connais le poids
+des fers.]
+
+Every vocalist knows the difficulty experienced in singing very high
+tones to different syllables, each requiring a different conformation
+of the buccal cavity. The passage quoted--expressing Tell's bitterness
+at the recollection of his past sufferings in prison, "Well I know the
+weight of galling chain"--has to be declaimed with great energy. So
+far as the relative value of the notes is concerned, it is entirely
+_ad libitum_, the rhythmical figure in the orchestra having ceased one
+half-bar before. It is said that Dabadie, a _basso cantante_ rather
+than baritone, to whom was entrusted the rôle of Tell on the first
+production of the work at the Opéra, Paris, on August 3, 1829, finding
+it impossible to sing the phrase as written, had recourse to a
+professor. He advised the _pointage_ given later. This change became
+traditional, and has since been followed, except, it is said, in the
+case of Massol, who succeeded Dabadie. He, being possessed of a very
+sonorous voice of exceptional compass, was able to give the phrase as
+written. This change, or _pointage_, must have been heard by Rossini,
+and so must have been tacitly approved by him. This is the change made
+by Dabadie:
+
+[Music: Mais je connais le poids des fers, mais je connais le poids
+des fers.]
+
+In Italian lyric theatres, _pointage_ becomes necessary in many French
+operas, owing to the prevalent custom of allotting to contraltos
+certain rôles written for soprano and known as "dugazon rôles" (from
+Madame Dugazon, who created the type). The parts of Siebel in _Faust_
+(Gounod), Urbain in _Les Huguenots_, Stéphane in _Roméo et Juliette_
+(Gounod), are all written for soprano, and when sung in Italian
+require not only transposition of the principal airs, but the use of
+_pointage_ in passages where transposition is impossible owing, for
+instance, to the participation of other characters in the scene. Thus
+the air sung by the page Urbain (_Les Huguenots_) on his entrance is
+sung in the French theatres as written by Meyerbeer, _i.e._, in _B_
+flat. In theatres where the Italian version is given, this air is
+transposed a third lower into _G_, necessitating later numerous
+_pointages_, for the reason already given.
+
+I said that many deviations from the printed text are the work of the
+author, or are authorized by him. A moment's reflection will convince
+one of the truth of this statement. The singer chosen--usually by the
+composer himself--to "create" a rôle, _i.e._, to interpret for the
+first time some part in a new opera, generally studies it with the
+composer, or under his direct supervision, and thus learns, directly
+or indirectly, his ideas as to the meaning, style of execution, tempi,
+etc., of the music. Very often during rehearsals, when the composer
+begins really to hear his own work, he makes modifications in certain
+passages, alterations of the words or suppressions of the notes that
+are either ineffective, or lie awkwardly for the voice. But the opera
+has already been printed for the convenience of the singers and
+choristers studying the rôles and choruses; consequently, such
+modifications, rearrangements, and "cuts" (as excisions are termed),
+do not find their way into the published scores.
+
+Meyerbeer, as I have been informed by competent authorities, was
+constantly modifying his compositions. With him, the work of revision
+and emendation was never finished. It is said that this was more
+especially the case with his last opera, _l'Africaine_, which he was
+continually altering and revising, never being able to satisfy
+himself. Two versions of the libretto were prepared for him by Scribe,
+and two distinct settings of the music are published, although only
+one is performed.[5]
+
+[Footnote 5: Cases are numerous of changes made by composers even
+after their work has been produced. The Fountain Scene in _Lucia_ was
+entirely remodelled by Donizetti, some time after its original
+production at Milan, the first setting being replaced by the "Regnava
+nel silenzio" now used, written for Persiani when the opera was first
+given at the San Carlo, Naples.]
+
+In Nelusko's first air occurs the following passage, in which a great
+_crescendo_ is marked, culminating _ff_ on the word _rien_:
+
+[Music: non, n'ôtent rien à ta majesté!]
+
+Although the opera was produced after the composer's death,
+Jean-Baptiste Faure, the great baritone chosen to create the rôle of
+Nelusko, studied it with Meyerbeer, who authorized several verbal and
+musical changes in it.
+
+[Music: non, n'ôtent rien, non, non, non, n'ôtent rien à ta majesté!]
+
+Without the first alteration it is impossible to realize the
+composer's wish for a climax on the word "_rien_"; the second change
+is due to the fact that the _tessitura_ of the phrase is somewhat
+high, and Faure, who was a low rather than high baritone, dreaded the
+high _f_-[sharp].
+
+Indeed, it was for this latter reason that this most accomplished
+singer never sang in Verdi's operas. According to his own statement,
+he had to deny himself this pleasure, because most of the baritone
+parts in the Italian composer's operas are written in a high
+_tessitura_.
+
+When Gounod wrote his _Faust_ for the Théâtre-Lyrique, Paris, spoken
+dialogue was used in place of the recitatives subsequently added by
+the composer when the work passed, ten years later, into the
+répertoire of the Opéra. In its earlier form, therefore, it belonged
+to the category of _opéra-comique_, in which tenors were then
+permitted to use the falsetto voice for their very highest tones. This
+custom, though sanctioned in _opéra-comique_, was not permitted or
+accepted in _grand opéra_, to which Gounod's work in the revised form
+now belongs. At the beginning of the sixth bar from the end of the
+tenor _cavatina_ in the Garden Scene: "_Salut! demeure chaste et
+pure_," occurs the high sustained _c_.
+
+Not all tenors who sing the rôle are possessed of the much-coveted
+"_do di petto_," so a discreet _pointage_ becomes a necessity, since
+the tone was originally intended, as I have said, to be sung in
+falsetto. Those robust tenors who, possessing this tone, launch it out
+at full voice, unheeding the delicate accompaniment with violin
+obbligato in the orchestra, and the calm, mystic serenity of the
+surroundings, are surely more desirous of drawing the attention of the
+public to themselves, than actuated by an artistic desire to interpret
+faithfully the scene as intended by composer and librettist.
+
+It was owing to the use by light tenors of the so-called falsetto
+voice, now no longer in favor with the public, that such of the
+_opéras-comiques_ by Boiëldieu, Halévy, Auber, etc., which still keep
+the stage, necessitate frequent _pointage_, in order to render their
+execution compatible with existing requirements. Sometimes a composer
+utilizes an exceptional voice, as was the case with the rôles written
+for Martin. This singer must have possessed either a strong tenor
+voice with exceptional low tones, or a baritone voice with perhaps an
+unusual command of the falsetto--history furnishes but vague
+information on this point. In any case, the rôles written for
+him--called Martin-tenor or Martin-baritone parts--are now assigned to
+the ordinary baritone. _Pointage_ then becomes inevitable, as in the
+case of Hérold's _Zampa_, the compass required as printed being from
+
+[Music]
+
+In the rôles, such as _Mignon_ (Thomas) and _Carmen_ (Bizet), written
+for Madame Galli-Marié, their respective composers themselves have so
+arranged the parts that they may be sung by either mezzo-soprano or
+soprano. The rôle of Mignon has alternatives, in order that it may be
+sung by three types of female voices. The roulades and cadenzas were
+subsequently added by the composer for Madame Christine Nilsson.
+
+If the rôle is sung by a high soprano, Mignon's first air, "Connais-tu
+le pays," is transposed a tone higher into _E_ flat.
+
+In the famous duet between Raoûl and Valentine in the fourth act of
+_Les Huguenots_, the composer has given alternative notes for those
+tenors who do not possess the exceptional altitude required for the
+higher of the two:
+
+[Music: Ah! viens! ah! viens! ah! viens!
+
+or
+
+viens! ah! viens!]
+
+I heard recently, however, a performance of this opera, in which the
+tenor sang the whole of the music as written, without either
+transposition or _pointage_. So it was sung, I should imagine, by the
+famous Adolphe Nourrit, who created the rôle; but the pitch at that
+time (1836) was lower than it is at present.
+
+Thus composers have recognized the necessity at times of _pointage_ in
+certain rôles written for exceptionally gifted singers, in order to
+render possible to the many that which was originally written for the
+few.
+
+Changes from the published version have also been made--and proving
+effective have passed into tradition--by singers who, exercising the
+liberty then accorded them by composers, have slightly modified
+certain passages for several reasons: for instance, to augment the
+effect by making the phrase more characteristic of the vocal
+instrument, or to express more forcibly the composer's idea.
+
+The following illustrations will render my meaning clearer. The
+changes originated in the causes I have mentioned, and are attributed
+to Madame Dorus-Gras:
+
+[Music: "Robert, toi que j'aime"
+
+tu vois mon effroi! tu vois mon effroi!
+
+change
+
+-froi! Ah!
+
+Grâce, grâce pour moi-même, pour toi-même.]
+
+The phrase "Grâce, grâce," in which Isabelle implores Robert of
+Normandy's forgiveness, occurs three times. When it recurs for the
+last time, a change from the printed text is not only justifiable; it
+is demanded, in order to give additional intensity and power to the
+phrase, and to avoid the monotony caused by mere repetition. This
+modification is all the more defensible, as the composer has
+substituted the orchestra, with the strings _tremolo_, for the
+rhythmical harp-figure with which he accompanies the phrase on its
+first and second presentations. Here is the accepted traditional
+change:
+
+[Music: Grâce, grâce pour moi-même, pour toi-même.]
+
+Again, to sing the final cadenza of this air as Meyerbeer briefly
+indicated it, would be impossible and absurd:
+
+[Music: (as printed)
+
+ah! grâce pour moi.
+
+(as sung)
+
+ah! grâce, ah! grâce pour moi.]
+
+Other changes have their origin in the fact that sometimes a great
+climax is rendered impossible of realization because the musical
+phrase culminates on a vowel-sound difficult of emission on that note,
+and devoid of sonority; another word has sometimes to be substituted.
+For this reason, in the first air of Alice in the same opera
+(_Robert_), "_Va, dit-elle_," a verbal rearrangement is always
+resorted to:
+
+[Music: Sa mère va prier pour lui, sa mère va prier pour lui, sa mère
+va prier pour lui, va prier]
+
+To avoid the disagreeable and ineffective result produced by the high
+descending passage on the word "lui" (pronounced in English as
+"lwee"), the last few bars are performed thus:
+
+[Music: sa mère va prier, sa mère va prier]
+
+When _La Tosca_ (Puccini) was produced in French at the Opéra-Comique,
+Paris, the unfortunate artist to whom was allotted the tenor rôle was
+expected by the translator to sing at full voice, and after a crashing
+chord from the entire orchestra, marked _ffff_ in the score, the
+following words:
+
+[Music: au péril de ma vie]
+
+As it was found to be out of the question to produce the effect
+desired with the words as they stood, the phrase was afterwards
+changed to:
+
+[Music: pour combattre l'infâme]
+
+Frequently modifications, most happy in their effect, are due to the
+inspiration of a particularly gifted artist.
+
+Madame Viardot-Garcia, finding the phrase of the cabaletta in the aria
+"_Se Romeo t'uccise_" (_Romeo e Giulietta_, Bellini) somewhat weak and
+ineffective, made the skilful _pointage_ here given:
+
+[Music: (as printed)
+
+Ma su voi ricada il sangue
+
+(as sung by Mme. Viardot-Garcia)
+
+Ma su voi ricada il sangue]
+
+A great artist may feel at times the inadequacy of the phrase as it
+stands to convey justly the composer's idea. Take, for instance, the
+well-known change which every soprano who sings the rôle of Leonora
+introduces in the _Miserere_ scene of _Il Trovatore_. The passage
+occurs four times in succession, and as printed becomes commonplace
+and monotonous.
+
+[Music: Di te, di te scordarmi! di te, di te scordarmi!]
+
+The accepted traditional change certainly conveys the impression of
+Leonora's gradually increasing anguish and terror; not the idea that
+it is introduced merely to exploit a high tone:
+
+[Music: Di te, di te scordarmi! di te, di te scordarmi!]
+
+That this departure from the text must have been sanctioned by Verdi,
+is, I think, proved by the fact that it has always been sung thus, and
+the composer himself must often have heard the substitution. He would
+certainly have forbidden its use, had he not approved of it, for he
+was particularly averse to having changes made in his music. The
+following anecdote illustrates this trait in his character. It was
+related by the late Mme. Marie Saxe, better known under her
+Italianized name of Marie Sasse. This distinguished soprano singer, a
+member of the Paris Opéra for a number of years, was engaged to give a
+certain number of performances at the Opera of Cairo. _Aida_ was one
+of the operas stipulated for in her contract. She had never sung the
+rôle, and in studying it found the _tessitura_ of the music, at one or
+two points, a little too high for her natural means. As she was
+compelled by her contract to sing the opera, she asked Verdi to make
+some slight changes to bring the music within her reach. But he
+refused absolutely to make the least alteration.
+
+Madame Saxe was specially selected by Meyerbeer to create the rôle of
+Sélika in _l'Africaine_. She studied the part for three months with
+the composer, and sang it when the work was first given at the Paris
+Opéra. She was also chosen by Richard Wagner for the part of Elisabeth
+when _Tannhäuser_ was given its stormy performances, with Niemann in
+the title-rôle, at the same theatre in 1861.
+
+Madame Saxe possessed a score of _Tannhäuser_ with the inscription in
+the composer's handwriting:
+
+    "_A ma courageuse amie
+      Mademoiselle Marie Saxe._
+
+    _L'Auteur_
+      RICHARD WAGNER."
+
+The slight modifications, or _pointages_, asked from Verdi, were not,
+I was assured by Madame Saxe, of a character to alter either the rôle
+or the opera, and she remarked (I quote her own words): "Why should
+Verdi have shown himself more unreasonable or less yielding than
+Meyerbeer or Wagner?" (_plus intransigeant, plus intraitable que_
+Meyerbeer _ou_ Wagner?).
+
+       *       *       *       *       *
+
+In tradition, however, there is the true or accepted tradition--so
+called because believed to have been sanctioned by the composer
+himself, or approved of by competent authorities and its use warranted
+by time--and the false. This latter is simply an accumulation of
+excrescences superimposed on the original by individual whim or
+personal fancy. These have been invented by singers desirous of
+bringing into relief certain special and peculiar gifts, or who have
+mistaken, perhaps forgotten, the original and authentic tradition.
+Thus their artistic heritage has become so altered and disfigured by
+successive additions, or "machicotage," as to bear no resemblance to
+the original, this being buried under a heap of useless complications.
+
+But it may be asked, are there no authoritatively correct printed
+editions of such classics with the accepted traditions and the proper
+mode of their performance expressed in modern musical notation? Yes:
+but they are incomplete, being for the most part confined to airs and
+other excerpts, instead of the complete works themselves. In this
+connection, I may cite the admirable edition of the "_Gloires
+d'Italie_" by the late erudite musician and authority, Gevaert, for so
+many years Director of the Conservatoire at Brussels. These editions
+are characterized by a scrupulous fidelity to the composers' text as
+it was understood when written, as well as by great taste and musical
+sense of what is appropriate and fitting, in such ornaments as the
+editor has introduced, when these have been left to the discretion of
+the singer. The solo parts for the principal singers in Mozart's
+operas of _Don Giovanni_ and _Le Nozze di Figaro_, edited and revised
+for performance by the well-known singing-master and excellent
+musician, Signor Randegger, are also admirable. But other editions
+exist which do not bear the same imprint of authority, or
+conscientious care in their revision, as do the versions just
+mentioned.
+
+In the edition of the well-known air "_J'ai perdu mon Eurydice_" (_che
+farò senza Euridice?_) from _Orphée_ (Gluck), revised by Madame
+Pauline Viardot-Garcia, no mention is made of two traditions which
+have been used and handed down by a number of the most famous singers
+of the rôle of Orphée. I give them here:
+
+[Music: (as printed)
+
+déchire mon coeur. J'ai perdu mon Eurydice
+
+(Traditional changes)
+
+Ah! déchire mon coeur. J'ai perdu mon Eurydice]
+
+The change on the third repetition of the principal theme is quite in
+accordance with the license then accorded in such airs.
+
+In a special version of the opera _Armide_ (Gluck), revised and edited
+by the late Sir Charles Hallé, the first bars of the great air of
+Armide in the first scene of the fourth act, "_Ah! si la liberté_"
+(Ah! if my liberty must from me then be taken), are printed thus:
+
+[Music: Ah! si la liberté]
+
+The situation is where Armide perceives the knight Renaud in the
+gardens of her enchanted palace, whither he has come to destroy the
+sorceress on account of her magic arts. Although the enchantress knows
+that the mission of the knight is to deprive her of liberty, she
+herself succumbs to the fatal passion of love. I have briefly
+described the scene in order that my meaning may be clear. In the
+second half of the first bar, the _acciaccatura_ was never intended by
+the composer to be actually sung as printed. It was his only way of
+indicating the sob or sigh whereby Armide finishes her exclamation,
+"Ah!" The effect is called "the Dramatic sob," and is known to every
+opera-singer. Here is the composer's meaning, as far as it is possible
+to convey it in writing:
+
+[Music: Ah! si la liberté]
+
+(A _portamento_ must be made from the first note to the next, when the
+breath must be taken quickly to give the idea of a sob or sigh.)
+
+Again, in a recent edition of the same air by the distinguished
+composer Vincent d'Indy (_Nouvelle Édition Française de Musique
+Classique_), occurs the following:
+
+[Music: tu règnes dans mon coeur!]
+
+The effect of the _F_ sharp in the last bar, if sung against the
+harmony given, in which the preceding chord is resolved, would be
+intolerable. Surely, the composer intended a pronounced _rallentando_
+on the latter half of the bar, and a carrying of the voice by a
+_portamento_ to the last note. Thus:
+
+[Music: tu règnes dans mon coeur!]
+
+In the edition of the immortal air in the opera of _Xerxes_,
+universally known as the "Largo of Handel," also revised and edited by
+d'Indy, may be noticed the following:
+
+[Music: Non v'oltraggino mai la cara pace, ne giunga a profanarvi
+austro rapace!]
+
+Of course, every operatic conductor knows that the chord in the
+orchestra must be played "after the voice," as the technical phrase
+has it. But not every pianist or organist is familiar with this usage,
+and the effect would be very disagreeable if given as written. It
+should be performed thus:
+
+[Music: Non v'oltraggino mai la cara pace, ne giunga a profanarvi
+austro rapace!]
+
+Besides, why claim that a certain edition is "revised and edited,"
+when all the care and musical knowledge seem to have been expended on
+the harmonies only? Surely, the voice-part in these classics is not
+without its need of elucidation.
+
+An edition of _The Messiah_, revised for performance, can scarcely be
+called accurate when such defects as the following occur:
+
+     "And [fermata symbol over "they"] they ---- [breath symbol] were
+     sore afraid."
+
+The following is the authentic mode of performing the phrase:
+
+     "And [fermata symbol over dash] ---- [breath symbol] [slur symbol
+     and "sombre" over the following words] they were sore afraid."
+
+In the same edition for the solo singers occurs: ("Behold and see"):
+
+[Music: If there be any sorrow like un_to_ His sorrow.]
+
+But by a slight syllabic rearrangement, the disagreeable accent on the
+last syllable of "un-_to_" is avoided, and the accent placed on the
+word "His," to which it belongs, while the composer's music remains
+untouched.
+
+[Music: like unto _His_ sorrow.]
+
+Again, in the same air occurs:
+
+[Music: (as printed)
+
+like un_to_ His sorrow.
+
+(should be sung)
+
+like unto _His_ sorrow.]
+
+While recognizing the benefits conferred by some of these specially
+prepared editions, there remains still more to be accomplished in this
+direction before the work is complete. A flood of light has been
+thrown on the dark and nebulous places of the instrumental classics by
+various distinguished and highly competent musicians. It is sincerely
+to be hoped, in the interests of this branch of the æsthetics of vocal
+art, that those competent to speak with authority will do so, in order
+that in this direction also "the crooked shall be made straight, and
+the rough places plain."
+
+I admit that this question of revising the composer's written text is
+an exceedingly delicate and difficult one. It should be attempted only
+by those possessed of the requisite authority, those who combine tact
+and taste with judgment and experience. To these qualities should be
+added a sincere and reverential desire to place in the highest relief
+the meaning of both poet and composer.
+
+       *       *       *       *       *
+
+I have said that the license formerly accorded by composers to
+singers--particularly operatic singers--manifested itself in a twofold
+form. The second of these phases was the introduction in the body of a
+theme or melody, and also at its close, of embellishments. Sometimes
+the composer briefly sketched these ornaments; at other times their
+places only were indicated. The ornaments in the body of an air are
+known as _abbellimenti_ or _fioriture_; those at its close, as
+_cadenze_.
+
+Here is an example of the former, taken from the duet in _Elisa e
+Claudio_ by Mercadante:
+
+[Music: Se un istante all'offerta d'un soglio vacillasse il mio genio
+primiero.]
+
+The following is the same passage ornamented:
+
+[Music: Se un istante all'offerta d'un soglio vacillasse il mio genio
+primiero]
+
+(As sung by Mme. Malibran. Quoted from "_Mécanisme des Traits_," by de
+La Madelaine, 1868.)
+
+The rôle of Rosina in Rossini's _Il Barbiere_ has long been a
+favourite peg with prime donne on which to hang interpolated ornaments
+for the display of their vocal agility. Some of these are not always
+in good taste, being trivial or banal in character, thus concealing
+the natural charm of the original melody under a species of Henri Herz
+variations. Others, however, such as those used by the Patti and the
+Sembrich, for instance, are of great originality and excellent effect.
+
+Here are some of the traditional ornaments and cadenzas sung by
+certain famous singers of the past in Rosina's entrance cavatina:
+"_Una voce poco fa_." This air was originally written by Rossini in
+_E_ major, the part of Rosina being intended for a mezzo-soprano, and
+was thus sung by the late Paulina Viardot-Garcia. This exceptionally
+gifted artist, possessing a voice of very great compass, was enabled
+to sing not only the rôles assigned to mezzo-soprano contraltos, such
+as Orphée, or Fidès (_Le Prophète_), which she created, but also the
+parts given to dramatic sopranos. Mme. Viardot was thus able, with
+some slight modifications, to sing Norma, Desdemona (_Otello_:
+Rossini), Rachel (_La Juive_), etc.
+
+The rôle of Rosina has now definitely passed into the possession of
+florid or _coloratura_ sopranos; much, therefore, of the music is of
+necessity transposed, the air in question being now sung one half-tone
+higher, in the key of _F_.
+
+Here is a change used by Mme. Cinti-Damoreau, who sang the music in
+the original key. The composer wrote:
+
+[Music: Si Lindoro mio sarà.]
+
+Mme. Cinti-Damoreau sang thus:
+
+[Music: Si Lindoro mio sarà.]
+
+In the same bar Mlle. Henrietta Sontag, who sang the air a semitone
+higher, introduced the following:
+
+[Music: Si Lindoro mio sarà.]
+
+Rossini wrote no cadenza to the air:
+
+[Music: lo vincerò!]
+
+Cadenza of Mlle. Sontag:
+
+[Music: Ah! ah! ah! lo vincerò!]
+
+I have already spoken of the bad taste exhibited by some mediocre
+singers in covering a coloratura air with so many roulades, etc., as
+to render it barely recognizable. It was after hearing one of his own
+arias overloaded and disfigured in this manner that Rossini, who was
+noted for his biting wit and stinging sarcasms, is said to have
+remarked: "What charming music! Whom is it by?"
+
+Bellini, Donizetti, and composers of their school, sometimes did
+little more than hand over to the singer engaged to create their works
+a rough sketch, as it were, which the artists were supposed to fill in
+and perfect. Singers were expected to add such _fioriture_, or
+"flowers," as would best display their salient points of style and
+individual characteristics. The Cavatina, or slow movement of the
+aria, was the medium which called for the qualities of expressive
+singing, while the Cabaletta was a vehicle for the display of
+virtuosity and technical mastery. In this latter movement, the
+equivalent of the Rondo in instrumental music, the performer was left
+perfectly free to use such embellishments as set forth his own gifts
+to the greatest advantage. Some singers excelled in bold and rapid
+flights of scales, chromatic and diatonic; others, in the neat and
+clean-cut execution of involved _traits_ or figures. It must be
+remembered, that the great singers of the past were perfectly
+competent to add these ornaments themselves, as they possessed a
+complete and sound musical education.
+
+More: sometimes these singers even collaborated with the composers.
+Crescentini, the last famous male sopranist, is reputed by history or
+legend--the two are not infrequently synonymous--to have been himself
+the composer of the well-known aria "_Ombra adorata_," introduced by
+him in Zingarelli's opera _Romeo e Giulietta_, as also of the prayer
+sung by Romeo in the same work. His singing of it is said to have
+moved his audience to tears, and gained for him the decoration of the
+Iron Crown, conferred upon him by Napoleon I. The Emperor also
+induced him, by the offer of a large salary, to settle in Paris as
+professor of singing.
+
+When these great artists--their career as public singers being
+ended--began in turn to form pupils, they were admirably fitted for
+the task of imparting instruction, being excellent musicians, and, as
+I have said, composers of no insignificant merit. They had a sound
+theoretical knowledge, compared with which that of many of our modern
+singers seems but a pale and feeble reflection.
+
+The collaboration of composer and interpreter is not altogether
+unknown in the domain of instrumental music. Is it not historical that
+Mendelssohn profited largely from the wise counsels of the celebrated
+violinist Ferdinand David in the composition of his concerto for
+violin and orchestra? This does not mean that David contributed any
+musical phrases or ideas to the work; but that his practical knowledge
+of the special characteristics and capabilities of the solo instrument
+enabled him to suggest how the composer's thoughts might be most
+fittingly presented.
+
+Returning to the question of the introduction of ornaments, etc., into
+a composer's work, the following extract may be of interest to the
+musical student. It is from a volume of criticism, now out of print, a
+copy of which is possessed by the present writer. The article appeared
+in _La Patrie_ more than forty years ago, and was called forth by the
+ornaments written by the then well-known singer and teacher of great
+ability, Stéphan de La Madelaine. These changes were for the great
+air of Agathe in the second act of _Der Freischütz_, and were the
+cause of much discussion among the music-critics of the time.
+
+"Following the example of celebrated vocal virtuosi whom he had
+formerly known, and availing himself of the license then permitted,
+the master (de La Madelaine) has introduced several alterations
+(_changements_). These, however, in no sense clash with the original
+character of the air itself.
+
+"That the introduction of such ornaments has caused an outcry, is not
+surprising. We should remember, however, that the _Freischütz_ was
+written at a period when, in certain places, the composer left the
+field entirely open to the singer, permitted him to make such changes
+as he might deem necessary. It must not be thought that in so doing
+the interpreter corrects the composer: he simply seeks to express, to
+the utmost of his abilities, the intention of the author.
+
+"The operas of Bellini, of Rossini, and, in general, of all the
+Italian masters, are full of these intentional gaps (_lacunes_) which
+were filled in by the singers. Nay, in the earliest days of the
+Neapolitan school, still greater liberty was allowed; the recitatives
+were all improvised by the executants, and were not even noted down.
+Each singer made his own, which the _maestro al cembalo_ accompanied
+with a few simple chords.
+
+"In the cavatina in _Norma_, each _cantatrice_ introduces her own
+changes on the recurrence of the principal theme, and the public
+applauds. Why then this outcry against the same procedure in _Der
+Freischütz_?
+
+"_That this custom or practice might lead to great abuse and that it
+is necessary to uproot it gradually, is our opinion._ But this radical
+reform can be realized only in forthcoming works; those of the ancient
+school ought to be interpreted by following the conventions which the
+composer himself has respected.
+
+"That the _changements_ written by M. de La Madelaine for the air of
+the _Freischütz_ are permissible, is proved by the fact that Weber
+himself has sanctioned and approved them, as, if need be, a great
+number of contemporaries can attest." (FRANCK-MARIE.)
+
+Whoever has had the good fortune to hear Mme. Marcella Sembrich in the
+rôle of Amina, in Bellini's _La Sonnambula_, will have heard an
+excellent example of remarkable technical skill or virtuosity, with
+irreproachable taste regulating its display. The ornaments and changes
+used by her in the _rondo finale_, "_Ah, non giunge_," are models of
+their genre. What else could be expected of an artist so gifted as to
+be able to perform the lesson-scene in Rossini's _Il Barbiere_
+(introducing therein the air with variations by Proch) in Italian; and
+in the course of the same scene sing, in German, "_Ich liebe dich_,"
+by Grieg, and play the Andante and Rondo Russe, for violin, by de
+Bériot, and a valse by Chopin on the piano?
+
+The opera, _La Sonnambula_, requires much rearrangement both of the
+music and of the verbal text, to which it is badly fitted. The greater
+part of the music written for Elvino has to be transposed, mostly a
+third lower, in order to make it practicable under existing
+conditions.
+
+No effect whatever could be made were a cantatrice to follow
+implicitly the written notes of this opera, such being merely a rough
+sketch, as it were, of the composer's ideas, which the singer is
+supposed to complete. Several instances from the andante "_Ah! non
+credea mirarti_," will suffice to prove this. The following is the
+printed version.
+
+[Music:
+
+Ah non credea mirarti,
+Sì presto estinto, o fiore.]
+
+This is but a suggestion of the composer's idea. The artist will
+therefore not follow too closely the printed version; but following
+the evident indications for a pathetic and expressive _cantabile_ will
+perform it thus:
+
+[Music:
+
+Ah! non credea mirarti,
+Sì presto estinto, o fiore.]
+
+Again a brief outline, as printed:
+
+[Music: Passasti al par d'amore, che un giorno, che un giorno sol
+durò.]
+
+which, if sung as follows, fills in the details:
+
+[Music: Passasti al par d'amore, che un giorno, che un giorno sol
+durò.]
+
+Also the passage in the same aria, where Amina sobs as she slowly lets
+fall to the ground the blossoms given her in the first act by Elvino,
+requires an entire rearrangement of the syllables to bring out the
+composer's meaning.
+
+[Music:
+
+Che un giorno sol durò,
+Passasti al par d'amor, d'amor.]
+
+Let any one go over this passage carefully, and he will be convinced
+that it is, as I have said, merely a sketch of the composer's idea. As
+it stands in the published version it is impossible of execution, and
+if it were possible, would be devoid of all effect: the syllables
+being wrongly placed, no opportunity for breathing is given the
+singer, and the final cadenza is marred by being allotted to the word
+"amore." Here is a revision of the latter, the cadenza being one I
+wrote for a pupil, Mme. Easton-Maclennan, of the Royal Opera, Berlin:
+
+[Music:
+
+Che un giorno sol durò,
+Passasti al par d'amor, ah! d'amor.]
+
+It will thus be seen, from the numerous foregoing examples, that these
+ornaments and interpolations are not added from a vulgar idea of
+correcting or improving the composer's music, but are strictly in
+accordance with certain conventions thoroughly understood by both
+composer and singer. To omit them, or follow too closely the printed
+text, would be to ignore the epoch, school and character of the music;
+a careful study of which forms one of the cornerstones of
+Interpretation. A skilled artist will always strive to analyze and
+interpret the intentions of the author. If one to whom is confided the
+vocal part of a composer's work were to limit himself to a
+mathematically correct reproduction of the written notes only, instead
+of searching below the surface for the author's meaning, his
+performance would merely resemble the accurate execution of a
+_solfeggio_ by a conscientious scholar. It would have the same
+relation to high artistic effort as the photographic reproduction of
+a landscape bears to the same scene as viewed and transmitted to
+canvas by a great painter.
+
+The sincere artist will carefully consider every detail. He will not
+be content to study his own part only, but will study the orchestral
+score which accompanies it. He will, in fact, follow the example set
+by good string-quartet players, who listen attentively to the other
+instruments during rehearsals, so that the perfect welding together of
+the different parts may form a homogeneous whole. Such an artist, in
+complete possession of the mechanical resources of his art, will
+utilize them all to embody perfectly that which, with the composer,
+existed only as a mental concept, inadequately transcribed, owing to
+the limitations of his media--pen, ink and paper.
+
+And it is only when in possession of the authentic traditions of
+Oratorio and Opera that the singer, such as I have supposed, will be
+able to vivify these great creations, will be able to invest them with
+warmth and colour, and thus make clear all their meaning, reveal all
+their beauty.
+
+
+
+
+CHAPTER V
+
+RÉPERTOIRE
+
+
+Although répertoire forms no integral part of Style, being rather the
+medium for its practical application, a few words on this important
+subject may not be out of place. The répertoire necessary for a singer
+may be divided into two sections, Opera and Concert. The latter
+includes Oratorio and Cantata.
+
+In spoken Drama, a performer may begin his career by playing the
+youthful lovers, and end it by impersonating the heavy fathers. He may
+first sigh as Romeo, and later storm as Capulet. Not so in Opera, or
+lyric Drama, where the line of work to be followed is determined at
+the outset by the type of voice possessed by the aspirant, and which
+line (or _emploi_, as it is termed) he follows of necessity to the end
+of his professional career.
+
+I know there are some few instances of artists who, later, have
+successfully adopted rôles demanding another range than the one needed
+for their earlier efforts. But it is an open question whether the
+performer's instrument really changed. It must either have been
+wrongly classified at one of the two periods, or the vocal
+keyboard--so to speak--transposed a little higher or lower. The
+character of the instrument remains the same; a viola strung as a
+violin would still retain its viola quality of tone.
+
+The case is different where a soprano who may have begun by singing
+the florid rôles of opera, has so gained in volume of voice and
+breadth of style as to warrant her devoting these acquisitions to
+characters requiring more dramatic force than was needed, or could be
+utilized, in coloratura rôles. Mlle. Emma Calvé, Mesdames Lilli
+Lehmann and Nordica, are notable examples of this. Each of these
+distinguished artists began her career by singing what are known as
+"Princess" rôles, before successfully portraying Carmen or the
+Brünnhildes. As a rule, it is by singing many different rôles that the
+lyric artist gains the skill and sureness that may ultimately render
+him famous in a few. Mlle. Grandjean, now principal first dramatic
+soprano at the Paris Opéra, began her career there--after a few
+appearances at the Opéra-Comique--by singing the very small part of
+the nurse Magdalene in Wagner's _Die Meistersinger_. Perseverance, if
+allied to ability, can accomplish much.
+
+When the type of voice and the natural temperament of the singer do
+not accord--as sometimes happens--he would be unwise not to adhere to
+the work for which his vocal means, not his preference, are best
+adapted. To follow the contrary path, and essay rôles requiring for
+their fitting expression more dramatic fire and intensity than his
+vocal instrument can supply, would be to shorten his career, owing to
+the certain deterioration and possible extinction of the voice. There
+are sufficient voiceless examples to prove, were proof needed, the
+truth of this assertion; and their atonic condition is due to the
+cause mentioned.
+
+The first requisite for the aspirant who wishes to follow the operatic
+career is undoubtedly a voice possessed of the three essential factors
+of Quality, Power and Compass; what is termed in Italy a "_voce di
+teatro_," or voice for the theatre.
+
+But an opera-singer is actor as well as singer, and in this direction
+more--much more--is now demanded of him than formerly. But to those
+possessed of what is known as the Instinct of the Theatre, or Scenic
+Instinct, the gestures and attitudes of the operatic stage, being
+largely conventional, are soon acquired. Scenic accomplishments are
+undoubtedly necessary to the stage-singer, but his mimetic studies
+should not preclude him from making himself a thorough master of the
+vocal side of his art. There is a difference between an actor who
+sings, and a singer who acts.
+
+Besides the mimetic faculty, certain physical gifts are also needed by
+the opera-singer, according to the requirements of the line of rôles
+to which he is inevitably assigned by the nature and type of his
+particular voice. It is true that stage artifice has now reached great
+perfection; but it has its limits, and cannot accomplish miracles.
+
+It requires much imagination and great generosity on the part of the
+public to accept a tenor, whose waist-girth would not unfit him for
+the part of Sir John Falstaff, as a youthful and romantic Romeo, or a
+half-starved and emaciated Rodolphe. Illusion is rudely shaken, if not
+absolutely dispelled, in witnessing a soprano, whose age and
+_embonpoint_ are fully in evidence, impersonate a girlish Gilda or a
+consumptive Traviata. Such discrepancies may be overlooked by the
+public in the case of old established favourites, but it would be
+unfortunate for the débutant to commence with these drawbacks. And yet
+there have been a few famous artists whose extraordinary vocal talent
+atoned for other very pronounced defects. Such an one was the
+Pisaroni, a celebrated contralto, said to have been so ill-favoured
+that she always forwarded her likeness to any opera director to whom
+she was personally unknown, who offered her an engagement. But so
+exceptional were her voice and talent, that certain of her
+contemporary artists have declared that by the time Pisaroni had
+reached the end of her first phrase, the public was already conquered.
+
+As personal preference is very often mistaken for aptitude or natural
+fitness, a lyric artist is not always the best judge as to which of
+the rôles in his répertoire are really fitted to display his abilities
+to the best advantage. The singer combines in himself both instrument
+and performer; therefore he rarely, if ever, hears himself quite as
+does another person. Until possessed of the ripened judgment gained by
+experience, he would do well to be guided in this matter by one who,
+to the knowledge required, adds taste and discernment. That a liking
+or preference is sometimes mistaken for the aptitude and gifts
+necessary for the successful carrying out of certain work, is too well
+known to be even questioned. It is the constantly recurring case of
+the low comedian who wishes to play Hamlet. A young tenor whose great
+vocal and physical advantages made him an ideal Duke in _Rigoletto_, a
+fascinating Almaviva in _Il Barbiere_, found but little enjoyment in
+life because his director refused to allow him to try Otello and
+Tannhäuser, for which he was vocally unfitted. Never show the public
+what you cannot do, is the best advice that can be given in such
+cases. Even the finest and most experienced singers are occasionally
+liable to make mistakes in the choice of rôles. Madame Patti once sang
+Carmen, and Madame Melba essayed Brünnhilde; but I am not aware that
+either of these famous cantatrices repeated the experiment.
+
+       *       *       *       *       *
+
+For those who intend to follow a concert-singer's career, there is a
+vast literature of vocal music specially written for this purpose,
+from which to select. There are few modern operatic excerpts which do
+not suffer somewhat by being transplanted from the stage to the
+concert-platform. In no case is this more clearly proved than in the
+selections so frequently given from Wagner's music-dramas. Of course,
+I am speaking more particularly of those extracts which require the
+services of a vocalist. Such selections given in the concert-room are
+in distinct violation of the composer's own wishes, frequently
+expressed. Besides lacking the necessary adjuncts of gesture, costume
+and scenery, the musical conditions of the concert-room are very
+unfavourable to the unfortunate singer. He has to struggle to make
+himself heard above the sonorities of a powerful orchestra generally
+numbering over a hundred musicians, and placed directly around and
+behind him, instead of on a lower level, as in the case of a lyric
+theatre. Besides which, Wagner's works can now be heard in all large
+cities under the conditions necessary for their proper presentment,
+and as intended by their author-composer. Therefore, there is no
+longer the same reason as may have existed years ago, for the
+performance of extracts at purely symphonic concerts.
+
+In cases where the singer has to select numbers for a symphonic
+concert and to be accompanied by an orchestra, there is a mine of
+wealth, not yet exhausted, in the operas of the older classic
+composers. These, being less heavily orchestrated than the ultra
+modern works written for the theatre, do not suffer in the same degree
+from the different disposition of the orchestral instruments.
+
+There are also a few vocal numbers with orchestral accompaniments
+written in the form of a "scena," such as the "Ah, perfido" of
+Beethoven, and the "Infelice" of Mendelssohn, which might possibly
+form an agreeable change to the frequenters of symphonic concerts,
+jaded a little, perhaps, with the oft-repeated "Dich theure Halle" and
+"Prayer" from _Tannhäuser_.
+
+In order to render them more in keeping with the conditions of
+symphonic concerts, orchestral accompaniments, to many songs by the
+classic composers, have been made by excellent musicians from the
+original piano-part. The ethical question involved in the presentation
+of such works in a form other than that written by the composer, need
+not be considered here. Each artist must decide the matter for
+himself.
+
+So far as songs with accompaniments for the piano are concerned, there
+is a mine practically inexhaustible and from which new treasures are
+constantly brought to light. For Recital purposes, the choice and
+sequence of a programme is second in importance only to its execution.
+And although suppleness and adaptability are valuable, even necessary,
+qualities, in a concert-singer, he will sometimes find that certain
+songs--admirable in themselves--are unsuited to him, for reasons which
+it is not always possible to define. In such cases it is not a matter
+of compass, or _tessitura_, of voice, or even temperament; there is
+some hidden lack of sympathy between the composer and his interpreter.
+A song should seem like a well-fitting garment; not only admirably
+made, but specially designed for the person who wears it.
+
+
+
+
+CHAPTER VI
+
+CONCLUSION
+
+
+The art of Singing is at present in a period of transition; and all
+unsettled conditions are unsatisfactory. Former standards are being
+thrown down; and the new ones are not yet elected, or, if chosen, not
+yet firmly fixed in the places of the old.
+
+All Arts have a period in their history when they seem to reach their
+culminating point of technical perfection. Perhaps this point is
+reached when the art is practised for its own sake, without giving
+much consideration or attributing special importance to what it
+expresses. Sculpture reached its apogee under the Greeks, who, more
+than any other race, prized Form--particularly as manifested in its
+highest expression, the human figure. Painting also was at its climax
+of technical development during the Renaissance, when life was full of
+movement, and costume picturesque. But at this period in each of the
+two arts, skill was regarded as of more importance than the subject.
+In other words, the perfection of the sculptor's statue or the scene
+depicted by the painter was of more interest and importance than the
+object or scene itself. If the work were admirably executed, the story
+it told had relatively little importance.
+
+Singing, which is speech conveyed through music, similarly reached its
+highest point of technical excellence when the voice of the singer
+was considered as little more than a mechanical instrument; when
+beauty of tone-quality and perfect virtuosity were the only ends for
+which to strive. This period was at its height with Farinelli,
+Caffarelli, Gizziello, and ended perhaps with Crescentini. That these
+singers possessed extraordinary technical skill, or execution, is
+amply attested by the exercises and airs, still extant, written for
+them by Porpora, Hasse, Veracini, and others. That they also had
+musical sentiment or expression, is authoritatively proved from the
+emotion caused in their auditors by their performance of a slow
+movement or _cantabile_. But it was musical expression only, and as if
+performed on a solo instrument, as a flute or violin, which does not
+possess the faculty of uttering words. The operas in which these
+singers appeared had some plot or story, it is true; but its
+importance was of the slightest--analogous to, and of the same value
+as, the subject in painting and sculpture at corresponding periods of
+their history.
+
+But singing, like these two sister-arts, has passed the period when it
+was, or could be, appreciated purely for the perfection of its
+technique. It has developed and broadened in other directions, and
+more now is demanded of the singer than mere mechanical perfection.
+Composers--notably Gluck--began to perceive the great possibilities to
+be attained by the development of the Greek lyric ideal; that is, the
+presentation of the Poetic idea by, and through the medium of, music;
+instead of being, as formerly, merely its excuse, a framework for the
+musician upon which to hang melodies.
+
+Although Gluck, like all innovators, was considered by his
+contemporaries as a revolutionary and iconoclast, he only strove to
+develop and perfect an art that had already existed in a primitive
+form. This was the art of animating a poetic idea by means of
+melopoeia; which Wagner later developed still further.
+
+       *       *       *       *       *
+
+Gradually, two essentials of good singing--tone-quality and truth of
+intonation--began to be neglected. But why should either of these two
+factors be less essential to a singer than to an instrumentalist?
+
+Of late it has been tacitly assumed, if not boldly claimed, that
+sentiment, passion, temperament, atoned for--even if they did not
+entirely replace--voice and lack of skill in the artist. But what
+constitutes an artist? Art has been defined by an English
+lexicographer as "Doing something, the power for which is acquired by
+experience, study or observation;" and an artist, as "One skilled in
+the practice of any art." The French writer d'Alembert says, "_L'art
+s'acquiert par l'étude et l'exercice_" (Art is acquired by study and
+practice). If these definitions of art be accepted, its external
+expression or manifestation is essential through some vehicle or
+medium, otherwise there is neither art nor artist. Concepts or ideals
+have their genesis in mind, but were they to remain there, the poet,
+painter, sculptor or musician (composer or interpreter) would have no
+right to the title of artist, because his concepts remained in
+thought-form only, and unexpressed. Therefore, as a composer can be
+accepted as artist only when he has given that to the world which
+entitles him to the distinction, how can his so-called interpreter be
+considered an artist when, through insufficiency of technical ability,
+he is unable to present satisfactorily the author's concept? No matter
+in what abundant measure such a performer may possess the good
+qualities of earnestness, conviction and sincerity, he is not an
+artist. "_Poeta nascitur, non fit_," has long been accepted as a
+truism; and similarly, it is supposed that the artist also is born,
+not made. But seeing that the mechanical side of any art is learned by
+experience, study, or observation--still to quote the definition--without
+which an adequate manifestation of that art is impossible, then
+certainly the artist is made. He is born with certain qualities
+necessary for the artist, it is true; but failing his technical skill,
+these other gifts can never be fully utilized.
+
+It is to be deplored that the studies of many vocal aspirants are not
+conducted on the same plan that is followed by those who desire to
+attain perfection on a musical instrument. These acquire a technique,
+and learn or study many works which may broaden or perfect their
+style, before commencing to prepare a répertoire. The opposite course
+is followed by many students of singing, who study rôles, instead of
+learning first how to sing. The full meaning of the highest examples
+of the modern lyric drama can be made apparent only by those who have
+fully mastered the vocal, as well as the mimetic, side of lyric art.
+Too much importance is, in my opinion, attached to the latter branch,
+at the cost of the former. I repeat, an opera-singer should be a
+singer who acts, not an actor who sings.
+
+       *       *       *       *       *
+
+On the occasion of the bestowal of awards at the Paris Conservatoire
+in August, 1905, M. Dujardin-Beaumetz, Under-Secretary for the Fine
+Arts, in his address to the students made pointed allusion to the
+difference of results between the instrumental classes and those for
+singing. Said the orator: "It is claimed that singing is in a state of
+decadence, and that the cause is largely due to the style of modern
+music. It is rather owing to the fact that this art is not studied at
+present with the same methodic diligence that formerly obtained. I
+would remind the students of singing that they gain nothing by
+neglecting the earlier studies, and that their professional future
+would be better assured if it rested on a solid basis of vocal
+technique. It is, therefore, in their interest that, with a view to
+assure this important point, certain reforms will be instituted."[6]
+
+[Footnote 6: One of these reforms was that the first year's study is
+to be devoted entirely to tone-formation; no attention being paid to
+the employment of the tones in melody. Nor are the professors of
+singing at the Conservatoire now selected--as was formerly the
+case--exclusively from among ex-opera-singers.]
+
+The professors of the classes for singing were also advised to draw
+more on the great classic writers for the voice, instead of confining
+themselves principally to the operatic répertoire.
+
+Every art reaches its apex of perfection, and then seems to decline;
+it may even temporarily disappear. But, being immortal, it is never
+lost. It finds other modes of manifestation, and reappears in other
+forms. The principles on which it is founded do not change; but
+constantly changing conditions necessitate a new application of these
+principles. This necessity was acknowledged for poetry itself by André
+Chénier:
+
+"_Sur des pensées nouveaux, faisons des vers antiques._" (Let us
+embody modern thoughts in classic verse.)
+
+Music follows the great laws of development to which all things are
+subject. It would be foolish, nay, impossible, to try to resuscitate
+an old form of art. Foolish, because the art itself would have lost
+all except its archaic charm or interest; impossible, because
+conditions have so completely changed that the attempt would be merely
+the galvanizing of a corpse, not its reanimation.
+
+Similarly, the art of singing can be successful only in proportion as
+it recognizes the existence of other conditions. These it meets by
+observing the old principles, but changing their mode of application.
+
+The education of the singer of to-day requires to be conducted on
+broader and more comprehensive lines than in the past, on account of
+the different conditions which have presented themselves.
+Singing--that is, the alliance and utterance of Music and Poetry--is
+one of the highest manifestations of the Beautiful, and is man's
+supreme and greatest creation. Therefore, singing will not seek in
+future to rival a mechanical instrument. It will, it is evident, give
+to the poetic idea a prominent, though not a predominant, place. But
+this poetic idea can be revealed to the listener only by a singer who
+is master of all the technical phases of his art. These component
+parts of his vocal education must of necessity comprise--as was laid
+down in the opening chapter of this work--Pose of Voice, Technique,
+Style, and Répertoire.
+
+It has been demonstrated that the first of these elements is
+essential, because the other stones of the complete structure cannot
+be successfully laid on an insecure foundation. The singer must have
+the second, or he will be unable to materialize his concept, like an
+unskilled carver who possesses the necessary material and tools, but
+lacks the technical ability to utilize either. He must possess Colour,
+whereby his vocal palette is set with the varied tints necessary for
+the different sentiments to be expressed; Accent, so that character
+may be given to the music and appropriate emphasis to the text; and
+Phrasing, in order that he may punctuate the music effectively and the
+words intelligently.
+
+Perfect master of these, he is in possession of all that goes to make
+up Style. And, if these premises be accepted, it must be evident that
+he is in possession of the qualities that were necessary to make
+singers great in the past, and are indispensable to make them great in
+the future.
+
+
+
+
+
+
+
+
+End of the Project Gutenberg EBook of Style in Singing, by W. E. Haslam
+
+*** END OF THIS PROJECT GUTENBERG EBOOK STYLE IN SINGING ***
+
+***** This file should be named 21400-8.txt or 21400-8.zip *****
+This and all associated files of various formats will be found in:
+        http://www.gutenberg.org/2/1/4/0/21400/
+
+Produced by David Newman, Chuck Greif, Linda Cantoni, and
+the Online Distributed Proofreading Team at
+http://www.pgdp.net
+
+
+Updated editions will replace the previous one--the old editions
+will be renamed.
+
+Creating the works from public domain print editions means that no
+one owns a United States copyright in these works, so the Foundation
+(and you!) can copy and distribute it in the United States without
+permission and without paying copyright royalties.  Special rules,
+set forth in the General Terms of Use part of this license, apply to
+copying and distributing Project Gutenberg-tm electronic works to
+protect the PROJECT GUTENBERG-tm concept and trademark.  Project
+Gutenberg is a registered trademark, and may not be used if you
+charge for the eBooks, unless you receive specific permission.  If you
+do not charge anything for copies of this eBook, complying with the
+rules is very easy.  You may use this eBook for nearly any purpose
+such as creation of derivative works, reports, performances and
+research.  They may be modified and printed and given away--you may do
+practically ANYTHING with public domain eBooks.  Redistribution is
+subject to the trademark license, especially commercial
+redistribution.
+
+
+
+*** START: FULL LICENSE ***
+
+THE FULL PROJECT GUTENBERG LICENSE
+PLEASE READ THIS BEFORE YOU DISTRIBUTE OR USE THIS WORK
+
+To protect the Project Gutenberg-tm mission of promoting the free
+distribution of electronic works, by using or distributing this work
+(or any other work associated in any way with the phrase "Project
+Gutenberg"), you agree to comply with all the terms of the Full Project
+Gutenberg-tm License (available with this file or online at
+http://gutenberg.org/license).
+
+
+Section 1.  General Terms of Use and Redistributing Project Gutenberg-tm
+electronic works
+
+1.A.  By reading or using any part of this Project Gutenberg-tm
+electronic work, you indicate that you have read, understand, agree to
+and accept all the terms of this license and intellectual property
+(trademark/copyright) agreement.  If you do not agree to abide by all
+the terms of this agreement, you must cease using and return or destroy
+all copies of Project Gutenberg-tm electronic works in your possession.
+If you paid a fee for obtaining a copy of or access to a Project
+Gutenberg-tm electronic work and you do not agree to be bound by the
+terms of this agreement, you may obtain a refund from the person or
+entity to whom you paid the fee as set forth in paragraph 1.E.8.
+
+1.B.  "Project Gutenberg" is a registered trademark.  It may only be
+used on or associated in any way with an electronic work by people who
+agree to be bound by the terms of this agreement.  There are a few
+things that you can do with most Project Gutenberg-tm electronic works
+even without complying with the full terms of this agreement.  See
+paragraph 1.C below.  There are a lot of things you can do with Project
+Gutenberg-tm electronic works if you follow the terms of this agreement
+and help preserve free future access to Project Gutenberg-tm electronic
+works.  See paragraph 1.E below.
+
+1.C.  The Project Gutenberg Literary Archive Foundation ("the Foundation"
+or PGLAF), owns a compilation copyright in the collection of Project
+Gutenberg-tm electronic works.  Nearly all the individual works in the
+collection are in the public domain in the United States.  If an
+individual work is in the public domain in the United States and you are
+located in the United States, we do not claim a right to prevent you from
+copying, distributing, performing, displaying or creating derivative
+works based on the work as long as all references to Project Gutenberg
+are removed.  Of course, we hope that you will support the Project
+Gutenberg-tm mission of promoting free access to electronic works by
+freely sharing Project Gutenberg-tm works in compliance with the terms of
+this agreement for keeping the Project Gutenberg-tm name associated with
+the work.  You can easily comply with the terms of this agreement by
+keeping this work in the same format with its attached full Project
+Gutenberg-tm License when you share it without charge with others.
+
+1.D.  The copyright laws of the place where you are located also govern
+what you can do with this work.  Copyright laws in most countries are in
+a constant state of change.  If you are outside the United States, check
+the laws of your country in addition to the terms of this agreement
+before downloading, copying, displaying, performing, distributing or
+creating derivative works based on this work or any other Project
+Gutenberg-tm work.  The Foundation makes no representations concerning
+the copyright status of any work in any country outside the United
+States.
+
+1.E.  Unless you have removed all references to Project Gutenberg:
+
+1.E.1.  The following sentence, with active links to, or other immediate
+access to, the full Project Gutenberg-tm License must appear prominently
+whenever any copy of a Project Gutenberg-tm work (any work on which the
+phrase "Project Gutenberg" appears, or with which the phrase "Project
+Gutenberg" is associated) is accessed, displayed, performed, viewed,
+copied or distributed:
+
+This eBook is for the use of anyone anywhere at no cost and with
+almost no restrictions whatsoever.  You may copy it, give it away or
+re-use it under the terms of the Project Gutenberg License included
+with this eBook or online at www.gutenberg.org
+
+1.E.2.  If an individual Project Gutenberg-tm electronic work is derived
+from the public domain (does not contain a notice indicating that it is
+posted with permission of the copyright holder), the work can be copied
+and distributed to anyone in the United States without paying any fees
+or charges.  If you are redistributing or providing access to a work
+with the phrase "Project Gutenberg" associated with or appearing on the
+work, you must comply either with the requirements of paragraphs 1.E.1
+through 1.E.7 or obtain permission for the use of the work and the
+Project Gutenberg-tm trademark as set forth in paragraphs 1.E.8 or
+1.E.9.
+
+1.E.3.  If an individual Project Gutenberg-tm electronic work is posted
+with the permission of the copyright holder, your use and distribution
+must comply with both paragraphs 1.E.1 through 1.E.7 and any additional
+terms imposed by the copyright holder.  Additional terms will be linked
+to the Project Gutenberg-tm License for all works posted with the
+permission of the copyright holder found at the beginning of this work.
+
+1.E.4.  Do not unlink or detach or remove the full Project Gutenberg-tm
+License terms from this work, or any files containing a part of this
+work or any other work associated with Project Gutenberg-tm.
+
+1.E.5.  Do not copy, display, perform, distribute or redistribute this
+electronic work, or any part of this electronic work, without
+prominently displaying the sentence set forth in paragraph 1.E.1 with
+active links or immediate access to the full terms of the Project
+Gutenberg-tm License.
+
+1.E.6.  You may convert to and distribute this work in any binary,
+compressed, marked up, nonproprietary or proprietary form, including any
+word processing or hypertext form.  However, if you provide access to or
+distribute copies of a Project Gutenberg-tm work in a format other than
+"Plain Vanilla ASCII" or other format used in the official version
+posted on the official Project Gutenberg-tm web site (www.gutenberg.org),
+you must, at no additional cost, fee or expense to the user, provide a
+copy, a means of exporting a copy, or a means of obtaining a copy upon
+request, of the work in its original "Plain Vanilla ASCII" or other
+form.  Any alternate format must include the full Project Gutenberg-tm
+License as specified in paragraph 1.E.1.
+
+1.E.7.  Do not charge a fee for access to, viewing, displaying,
+performing, copying or distributing any Project Gutenberg-tm works
+unless you comply with paragraph 1.E.8 or 1.E.9.
+
+1.E.8.  You may charge a reasonable fee for copies of or providing
+access to or distributing Project Gutenberg-tm electronic works provided
+that
+
+- You pay a royalty fee of 20% of the gross profits you derive from
+     the use of Project Gutenberg-tm works calculated using the method
+     you already use to calculate your applicable taxes.  The fee is
+     owed to the owner of the Project Gutenberg-tm trademark, but he
+     has agreed to donate royalties under this paragraph to the
+     Project Gutenberg Literary Archive Foundation.  Royalty payments
+     must be paid within 60 days following each date on which you
+     prepare (or are legally required to prepare) your periodic tax
+     returns.  Royalty payments should be clearly marked as such and
+     sent to the Project Gutenberg Literary Archive Foundation at the
+     address specified in Section 4, "Information about donations to
+     the Project Gutenberg Literary Archive Foundation."
+
+- You provide a full refund of any money paid by a user who notifies
+     you in writing (or by e-mail) within 30 days of receipt that s/he
+     does not agree to the terms of the full Project Gutenberg-tm
+     License.  You must require such a user to return or
+     destroy all copies of the works possessed in a physical medium
+     and discontinue all use of and all access to other copies of
+     Project Gutenberg-tm works.
+
+- You provide, in accordance with paragraph 1.F.3, a full refund of any
+     money paid for a work or a replacement copy, if a defect in the
+     electronic work is discovered and reported to you within 90 days
+     of receipt of the work.
+
+- You comply with all other terms of this agreement for free
+     distribution of Project Gutenberg-tm works.
+
+1.E.9.  If you wish to charge a fee or distribute a Project Gutenberg-tm
+electronic work or group of works on different terms than are set
+forth in this agreement, you must obtain permission in writing from
+both the Project Gutenberg Literary Archive Foundation and Michael
+Hart, the owner of the Project Gutenberg-tm trademark.  Contact the
+Foundation as set forth in Section 3 below.
+
+1.F.
+
+1.F.1.  Project Gutenberg volunteers and employees expend considerable
+effort to identify, do copyright research on, transcribe and proofread
+public domain works in creating the Project Gutenberg-tm
+collection.  Despite these efforts, Project Gutenberg-tm electronic
+works, and the medium on which they may be stored, may contain
+"Defects," such as, but not limited to, incomplete, inaccurate or
+corrupt data, transcription errors, a copyright or other intellectual
+property infringement, a defective or damaged disk or other medium, a
+computer virus, or computer codes that damage or cannot be read by
+your equipment.
+
+1.F.2.  LIMITED WARRANTY, DISCLAIMER OF DAMAGES - Except for the "Right
+of Replacement or Refund" described in paragraph 1.F.3, the Project
+Gutenberg Literary Archive Foundation, the owner of the Project
+Gutenberg-tm trademark, and any other party distributing a Project
+Gutenberg-tm electronic work under this agreement, disclaim all
+liability to you for damages, costs and expenses, including legal
+fees.  YOU AGREE THAT YOU HAVE NO REMEDIES FOR NEGLIGENCE, STRICT
+LIABILITY, BREACH OF WARRANTY OR BREACH OF CONTRACT EXCEPT THOSE
+PROVIDED IN PARAGRAPH F3.  YOU AGREE THAT THE FOUNDATION, THE
+TRADEMARK OWNER, AND ANY DISTRIBUTOR UNDER THIS AGREEMENT WILL NOT BE
+LIABLE TO YOU FOR ACTUAL, DIRECT, INDIRECT, CONSEQUENTIAL, PUNITIVE OR
+INCIDENTAL DAMAGES EVEN IF YOU GIVE NOTICE OF THE POSSIBILITY OF SUCH
+DAMAGE.
+
+1.F.3.  LIMITED RIGHT OF REPLACEMENT OR REFUND - If you discover a
+defect in this electronic work within 90 days of receiving it, you can
+receive a refund of the money (if any) you paid for it by sending a
+written explanation to the person you received the work from.  If you
+received the work on a physical medium, you must return the medium with
+your written explanation.  The person or entity that provided you with
+the defective work may elect to provide a replacement copy in lieu of a
+refund.  If you received the work electronically, the person or entity
+providing it to you may choose to give you a second opportunity to
+receive the work electronically in lieu of a refund.  If the second copy
+is also defective, you may demand a refund in writing without further
+opportunities to fix the problem.
+
+1.F.4.  Except for the limited right of replacement or refund set forth
+in paragraph 1.F.3, this work is provided to you 'AS-IS' WITH NO OTHER
+WARRANTIES OF ANY KIND, EXPRESS OR IMPLIED, INCLUDING BUT NOT LIMITED TO
+WARRANTIES OF MERCHANTIBILITY OR FITNESS FOR ANY PURPOSE.
+
+1.F.5.  Some states do not allow disclaimers of certain implied
+warranties or the exclusion or limitation of certain types of damages.
+If any disclaimer or limitation set forth in this agreement violates the
+law of the state applicable to this agreement, the agreement shall be
+interpreted to make the maximum disclaimer or limitation permitted by
+the applicable state law.  The invalidity or unenforceability of any
+provision of this agreement shall not void the remaining provisions.
+
+1.F.6.  INDEMNITY - You agree to indemnify and hold the Foundation, the
+trademark owner, any agent or employee of the Foundation, anyone
+providing copies of Project Gutenberg-tm electronic works in accordance
+with this agreement, and any volunteers associated with the production,
+promotion and distribution of Project Gutenberg-tm electronic works,
+harmless from all liability, costs and expenses, including legal fees,
+that arise directly or indirectly from any of the following which you do
+or cause to occur: (a) distribution of this or any Project Gutenberg-tm
+work, (b) alteration, modification, or additions or deletions to any
+Project Gutenberg-tm work, and (c) any Defect you cause.
+
+
+Section  2.  Information about the Mission of Project Gutenberg-tm
+
+Project Gutenberg-tm is synonymous with the free distribution of
+electronic works in formats readable by the widest variety of computers
+including obsolete, old, middle-aged and new computers.  It exists
+because of the efforts of hundreds of volunteers and donations from
+people in all walks of life.
+
+Volunteers and financial support to provide volunteers with the
+assistance they need, is critical to reaching Project Gutenberg-tm's
+goals and ensuring that the Project Gutenberg-tm collection will
+remain freely available for generations to come.  In 2001, the Project
+Gutenberg Literary Archive Foundation was created to provide a secure
+and permanent future for Project Gutenberg-tm and future generations.
+To learn more about the Project Gutenberg Literary Archive Foundation
+and how your efforts and donations can help, see Sections 3 and 4
+and the Foundation web page at http://www.pglaf.org.
+
+
+Section 3.  Information about the Project Gutenberg Literary Archive
+Foundation
+
+The Project Gutenberg Literary Archive Foundation is a non profit
+501(c)(3) educational corporation organized under the laws of the
+state of Mississippi and granted tax exempt status by the Internal
+Revenue Service.  The Foundation's EIN or federal tax identification
+number is 64-6221541.  Its 501(c)(3) letter is posted at
+http://pglaf.org/fundraising.  Contributions to the Project Gutenberg
+Literary Archive Foundation are tax deductible to the full extent
+permitted by U.S. federal laws and your state's laws.
+
+The Foundation's principal office is located at 4557 Melan Dr. S.
+Fairbanks, AK, 99712., but its volunteers and employees are scattered
+throughout numerous locations.  Its business office is located at
+809 North 1500 West, Salt Lake City, UT 84116, (801) 596-1887, email
+business@pglaf.org.  Email contact links and up to date contact
+information can be found at the Foundation's web site and official
+page at http://pglaf.org
+
+For additional contact information:
+     Dr. Gregory B. Newby
+     Chief Executive and Director
+     gbnewby@pglaf.org
+
+
+Section 4.  Information about Donations to the Project Gutenberg
+Literary Archive Foundation
+
+Project Gutenberg-tm depends upon and cannot survive without wide
+spread public support and donations to carry out its mission of
+increasing the number of public domain and licensed works that can be
+freely distributed in machine readable form accessible by the widest
+array of equipment including outdated equipment.  Many small donations
+($1 to $5,000) are particularly important to maintaining tax exempt
+status with the IRS.
+
+The Foundation is committed to complying with the laws regulating
+charities and charitable donations in all 50 states of the United
+States.  Compliance requirements are not uniform and it takes a
+considerable effort, much paperwork and many fees to meet and keep up
+with these requirements.  We do not solicit donations in locations
+where we have not received written confirmation of compliance.  To
+SEND DONATIONS or determine the status of compliance for any
+particular state visit http://pglaf.org
+
+While we cannot and do not solicit contributions from states where we
+have not met the solicitation requirements, we know of no prohibition
+against accepting unsolicited donations from donors in such states who
+approach us with offers to donate.
+
+International donations are gratefully accepted, but we cannot make
+any statements concerning tax treatment of donations received from
+outside the United States.  U.S. laws alone swamp our small staff.
+
+Please check the Project Gutenberg Web pages for current donation
+methods and addresses.  Donations are accepted in a number of other
+ways including checks, online payments and credit card donations.
+To donate, please visit: http://pglaf.org/donate
+
+
+Section 5.  General Information About Project Gutenberg-tm electronic
+works.
+
+Professor Michael S. Hart is the originator of the Project Gutenberg-tm
+concept of a library of electronic works that could be freely shared
+with anyone.  For thirty years, he produced and distributed Project
+Gutenberg-tm eBooks with only a loose network of volunteer support.
+
+
+Project Gutenberg-tm eBooks are often created from several printed
+editions, all of which are confirmed as Public Domain in the U.S.
+unless a copyright notice is included.  Thus, we do not necessarily
+keep eBooks in compliance with any particular paper edition.
+
+
+Most people start at our Web site which has the main PG search facility:
+
+     http://www.gutenberg.org
+
+This Web site includes information about Project Gutenberg-tm,
+including how to make donations to the Project Gutenberg Literary
+Archive Foundation, how to help produce our new eBooks, and how to
+subscribe to our email newsletter to hear about new eBooks.
diff --git a/21400-8.zip b/21400-8.zip
new file mode 100644
index 0000000..b50a4d8
--- /dev/null
+++ b/21400-8.zip
diff --git a/21400-h.zip b/21400-h.zip
new file mode 100644
index 0000000..f755dd5
--- /dev/null
+++ b/21400-h.zip
diff --git a/21400-h/21400-h.htm b/21400-h/21400-h.htm
new file mode 100644
index 0000000..112405f
--- /dev/null
+++ b/21400-h/21400-h.htm
@@ -0,0 +1,3693 @@
+<!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN"
+    "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd">
+
+<html xmlns="http://www.w3.org/1999/xhtml">
+  <head>
+    <meta http-equiv="Content-Type" content="text/html;charset=iso-8859-1" />
+    <title>
+      The Project Gutenberg eBook of Style in Singing, by W.E. Haslam.
+    </title>
+    <style type="text/css">
+/*<![CDATA[  XML blockout */
+<!--
+    p {  margin-top: .75em;
+         text-align: justify;
+         margin-bottom: .75em;
+         }
+    h1, h2, h3, h4, h5, h6 {
+         text-align: center; /* all headings centered */
+         clear: both;
+         }
+    hr { width: 33%;
+	 margin-top: 2em;
+	 margin-bottom: 2em;
+         margin-left: auto;
+         margin-right: auto;
+         clear: both;
+       }
+
+    table {margin-left: auto; margin-right: auto;}
+
+    body  {margin-left: 15%;
+           margin-right: 15%;}
+
+    .pagenum  {position: absolute; left: 92%;
+               font-size: 13px; text-indent: 0em; color: #ababab;
+               background-color: inherit;
+               font-weight: normal; font-style: normal;
+               font-variant: normal; text-decoration: none;}
+
+    .blockquot {margin-left: 10%; margin-right: 10%;}
+
+    .center   {text-align: center;}
+    .right    {text-align: right;}
+
+    .smcap    {font-variant: small-caps;}
+    .dropcap  {float: left; padding-right: 3px; font-size: 250%;
+               line-height: 83%;}
+
+    .small    {font-size: 75%;}
+    .big      {font-size: 125%; font-weight: bold;}
+    .bigger   {font-size: 175%; font-weight: bold;}
+
+    .footnote {margin-left: 10%; margin-right: 10%;}
+    .footnote .label  {position: absolute; right: 84%; text-align: right;}
+    .fnanchor {vertical-align: baseline;
+               position: relative; bottom: 0.4em;
+               font-size: .8em;
+               text-decoration: none;}
+
+    span.symbol {position: relative;}
+    img.symbol  {position: relative; left: -1.6em; top: -1.8ex; margin-right: -10px;}
+    img.slur    {position: relative; left: -8.5em; top: -1.8ex; margin-right: -10px;}
+
+    .notes    {background-color: #eeeeee; color: #000; padding: .5em;
+               margin-left: 10%; margin-right: 10%;
+               border: 1px solid black;}
+    // -->
+    /* XML end  ]]>*/
+    </style>
+  </head>
+<body>
+
+
+<pre>
+
+The Project Gutenberg EBook of Style in Singing, by W. E. Haslam
+
+This eBook is for the use of anyone anywhere at no cost and with
+almost no restrictions whatsoever.  You may copy it, give it away or
+re-use it under the terms of the Project Gutenberg License included
+with this eBook or online at www.gutenberg.org
+
+
+Title: Style in Singing
+
+Author: W. E. Haslam
+
+Release Date: May 9, 2007 [EBook #21400]
+
+Language: English
+
+Character set encoding: ISO-8859-1
+
+*** START OF THIS PROJECT GUTENBERG EBOOK STYLE IN SINGING ***
+
+
+
+
+Produced by David Newman, Chuck Greif, Linda Cantoni, and
+the Online Distributed Proofreading Team at
+http://www.pgdp.net
+
+
+
+
+
+
+</pre>
+
+
+
+
+<div class="notes">
+<p><i>Transcriber&#8217;s Note:</i> This e-text contains musical symbols, which may appear as boxes
+in some browsers. Hover the mouse over the box for a pop-up text explanation of the symbol, e.g.,
+<i>G</i><span title="sharp symbol">&#9839;</span>.</p>
+
+<p>Click on the [Listen] link below the music illustrations to hear the music.</p>
+</div>
+
+<h3><br /><i>TO MY PUPILS</i></h3>
+
+<h1>STYLE IN SINGING</h1>
+
+<p class="center"><span class="big">BY</span></p>
+
+<h2>W.E. HASLAM</h2>
+
+<hr style="width: 25%;" />
+
+<p class="center"><b><a href="#CONTENTS">Contents</a></b></p>
+
+<hr style="width: 25%;" />
+
+
+<p class="center">NEW YORK: G. SCHIRMER<br />
+1911</p>
+
+<p class="center">
+<span class="small">Copyright, 1911<br />
+By G. SCHIRMER<br />
+22670</span>
+</p>
+
+
+
+<hr style="width: 65%;" />
+<p><span class="pagenum"><a name="Page_v" id="Page_v">[Pg&#160;v]</a></span></p>
+<h2><a name="PREFATORY_NOTE" id="PREFATORY_NOTE"></a>PREFATORY NOTE</h2>
+
+
+<p><span class="dropcap">&#8220;O</span><b>F</b> making many books there is no end.&#8221; Surely, the weary observation
+of the sage must have an especial application to the literature of
+Song.</p>
+
+<p>One could not number the books&#8212;anatomical, physiological,
+philosophical&#8212;on the Voice. A spacious library could easily be
+furnished with &#8220;Methods&#8221; of Singing.</p>
+
+<p>Works treating of the laws governing the effective interpretation of
+instrumental music exist. Some of them, by acknowledged and competent
+authorities, have thrown valuable light on a most important element of
+musical art. Had I not believed that a similar need existed in
+connection with singing, this addition to vocal literature would not
+have been written.</p>
+
+<p>In a succeeding volume on &#8220;Lyric Declamation: Recitative, Song and
+Ballad Singing,&#8221; will be discussed the practical application of these
+basic principles of Style to the vocal music of the German, French,
+Italian and other national schools.</p>
+
+<p class="right">W.E. HASLAM.</p>
+
+<p>
+2, rue Maleville,<br />
+<span style="margin-left: 1em;">Parc Monceau, Paris,</span><br />
+<span style="margin-left: 2em;">July, 1911.</span><br />
+</p>
+
+
+
+<hr style="width: 65%;" />
+<p><span class="pagenum"><a name="Page_vii" id="Page_vii">[Pg&#160;vii]</a></span></p>
+<h2><a name="INTRODUCTION" id="INTRODUCTION"></a>INTRODUCTION</h2>
+
+
+<p><span class="dropcap">I</span><b>N</b> listening to a Patti, a Kubelik, a Paderewski, the reflective
+hearer is struck by the absolute sureness with which such artists
+arouse certain sensations in their auditors. Moreover, subsequent
+hearings will reveal the fact that this sensation is aroused always in
+the same place, and in the same manner. The beauty of the voice may be
+temporarily affected in the case of a singer, or an instrument of less
+&#230;sthetic tone-quality be used by the instrumentalist, but the result
+is always the same.</p>
+
+<p>What is the reason of this? Why do great artists always make the same
+effect and produce the same impression on their public? Why, for
+instance, did the late Mme. Tietjens, when singing the following
+passage in Handel&#8217;s <i>Messiah</i>, always begin with very little voice of
+a dulled quality, and gradually brighten its character as well as
+augment its volume until she reached the high <i>G</i><span title="sharp symbol">&#9839;</span> which is the
+culmination, not only of the musical phrase, but also of the
+tremendous announcement to which it is allied?</p>
+
+<p class="center"><br />
+<img src="images/music01.png" width="515" height="200" alt="For now is Christ risen" title="For now is Christ risen" /></p>
+
+<p class="center"><a href="music/music01.midi">[Listen</a>]</p>
+
+<p><span class="pagenum"><a name="Page_viii" id="Page_viii">[Pg&#160;viii]</a></span></p>
+
+<p><br />This last tone was delivered with the full force and brilliance of her
+magnificent voice, and was prolonged until the thrill produced in the
+listener became almost painful in its intensity. Again I ask, why did
+this world-famous singer perform this passage <i>always</i> in the same
+way? Unreflecting people may reply vaguely that it was because the
+artist &#8220;sang with expression.&#8221; But what constitutes &#8220;expression&#8221; in
+singing? No great artist&#8212;no matter what the vehicle or medium through
+which his art finds manifestation&#8212;does anything at random. &#8220;The wind
+bloweth where it listeth&#8221; only in appearance; in reality, it is
+governed by immutable law. Similarly, the outward form of an art is
+only apparently dictated by caprice and freedom from rule. The
+effective presentation of every art is based on well-defined and
+accepted principles. And it is with the earnest desire to throw light
+on this most important phase of vocal art, that I present the
+principles of &#8220;Style in Singing.&#8221;</p>
+
+
+
+<hr style="width: 65%;" />
+<p><span class="pagenum"><a name="Page_ix" id="Page_ix">[Pg&#160;ix]</a></span></p>
+<h2><a name="CONTENTS" id="CONTENTS"></a>CONTENTS</h2>
+
+<table border="0" cellpadding="4" cellspacing="0" summary="Table of Contents">
+<tbody>
+<tr><td>&#160;</td><td class="right">PAGE</td></tr>
+<tr><td><span class="smcap"><a href="#PREFATORY_NOTE">Prefatory Note</a></span></td><td class="right">
+  <a href="#Page_v">v</a></td></tr>
+<tr><td><span class="smcap"><a href="#INTRODUCTION">Introduction</a></span></td><td class="right">
+  <a href="#Page_vii">vii</a></td></tr>
+<tr><td><a href="#CHAPTER_I"><span class="smcap">Chapter</span> I: Elements of Vocal Training</a></td><td class="right">
+  <a href="#Page_1">1</a></td></tr>
+<tr><td><span style="margin-left: 2em;"><a href="#EMISSION">Emission of Voice</a></span></td><td class="right">
+  <a href="#Page_2">2</a></td></tr>
+<tr><td><a href="#CHAPTER_II"><span class="smcap">Chapter</span> II: The Value of Technique</a></td><td class="right">
+  <a href="#Page_7">7</a></td></tr>
+<tr><td><a href="#CHAPTER_III"><span class="smcap">Chapter</span> III: Analysis of Style</a></td><td class="right">
+  <a href="#Page_12">12</a></td></tr>
+<tr><td><span style="margin-left: 2em;"><a href="#COLOUR">Colour</a></span></td><td class="right">
+  <a href="#Page_14">14</a></td></tr>
+<tr><td><span style="margin-left: 2em;"><a href="#ACCENT">Accent</a></span></td><td class="right">
+  <a href="#Page_21">21</a></td></tr>
+<tr><td><span style="margin-left: 2em;"><a href="#INTENSITY">Intensity</a></span></td><td class="right">
+  <a href="#Page_27">27</a></td></tr>
+<tr><td><span style="margin-left: 2em;"><a href="#PHRASING">Phrasing</a></span></td><td class="right">
+  <a href="#Page_32">32</a></td></tr>
+<tr><td><span style="margin-left: 2em;"><a href="#PORTAMENTO">Portamento</a></span></td><td class="right">
+  <a href="#Page_37">37</a></td></tr>
+<tr><td><span style="margin-left: 2em;"><a href="#VARIATIONS">Variations of Tempo</a></span></td><td class="right">
+  <a href="#Page_41">41</a></td></tr>
+<tr><td><a href="#CHAPTER_IV"><span class="smcap">Chapter</span> IV: Tradition</a></td><td class="right">
+  <a href="#Page_44">44</a></td></tr>
+<tr><td><span style="margin-left: 2em;"><a href="#POINTAGE">Pointage</a></span></td><td class="right">
+  <a href="#Page_61">61</a></td></tr>
+<tr><td><a href="#CHAPTER_V"><span class="smcap">Chapter</span> V: R&#233;pertoire</a></td><td class="right">
+  <a href="#Page_91">91</a></td></tr>
+<tr><td><a href="#CHAPTER_VI"><span class="smcap">Chapter</span> VI: Conclusion</a></td><td class="right">
+  <a href="#Page_98">98</a></td></tr>
+</tbody>
+</table>
+
+
+<hr style="width: 65%;" />
+<p><span class="pagenum"><a name="Page_1" id="Page_1">[Pg&#160;1]</a></span></p>
+<h1>STYLE IN SINGING</h1>
+
+
+
+<hr style="width: 65%;" />
+<h2><a name="CHAPTER_I" id="CHAPTER_I"></a>CHAPTER I<br />
+<br />
+<span class="smcap">Elements of Vocal Training</span><br /><br /></h2>
+
+
+<p><span class="dropcap">I</span><b>F</b> the practical education of the singer be analyzed, it will be found
+to comprise four fundamental elements:</p>
+
+<div class="blockquot">
+<p>(1) POSE: or Emission of voice;</p>
+
+<p>(2) TECHNIQUE: or the discipline of the voice considered as a musical
+instrument;</p>
+
+<p>(3) STYLE: or the application of the laws of artistic taste to the
+interpretation of vocal music;</p>
+
+<p>(4) R&#201;PERTOIRE: or the choice, in the literature of vocal music, of
+works most suited to the voice, temperament and individuality of the
+particular singer.</p>
+</div>
+
+<p>I have classed these four elements in their relative order. They are,
+however, of equal importance. Until the Pose and Technique of a voice
+are satisfactory, attempts to acquire Style are premature. On the
+other hand, without Style, a well-placed voice and an adequate amount
+of Technique are incomplete; and until the singer&#8217;s education has been
+rounded off with a R&#233;pertoire adapted to his individual capabilities,
+he is of little practical use for professional purposes.</p>
+
+<hr style="width: 45%;" />
+
+<p><span class="pagenum"><a name="Page_2" id="Page_2">[Pg&#160;2]</a></span></p>
+
+<h3><a name="EMISSION"></a>EMISSION OF VOICE</h3>
+
+<p><span class="dropcap">G</span><b>REAT</b> natural gifts of temperament and originality may, and sometimes
+do, mask defects of emission, particularly in the case of artists
+following the operatic career. But the artistic life and success of
+such a singer is short. Violated Nature rebels, and avenges herself
+for all infractions of law. A voice that is badly produced or emitted
+speedily becomes worn, and is easily fatigued. By an additional
+exertion of physical force, the singer usually attempts to conceal its
+loss of sonority and carrying-power. The consequences are disastrous
+for the entire instrument. The medium&#8212;to which is assigned the
+greater portion of every singer&#8217;s work&#8212;becomes &#8220;breathy&#8221; and hollow,
+the lower tones guttural, the higher tones shrill, and the voice,
+throughout its entire compass, harsh and unmanageable.</p>
+
+<p>In view of its supreme importance, it is scarcely necessary to dwell
+upon the self-evident fact that this foundation&#8212;Emission, or Placing
+of the voice&#8212;should be well laid under the guidance of a skilled and
+experienced singing-teacher. Nothing but disappointment can ensue if a
+task of such consequence be confided, as is too frequently the case,
+to one of the numerous charlatans who, as Oscar Commettant said, &#8220;<i>are
+not able to achieve possibilities, so they promise miracles</i>.&#8221; The
+proper Classification, and subsequent Placing, of a voice require the
+greatest tact and discernment. True, there are voices so well-defined
+in character as to occasion no possible error in their proper
+Classification at<span class="pagenum"><a name="Page_3" id="Page_3">[Pg&#160;3]</a></span> the beginning of their studies. But this is not the
+case with a number of others, particularly those known as voices of
+<i>mezzo-carattere</i> (<i>demi-caract&#232;re</i>). It requires a physician of great
+skill and experience to diagnose an obscure malady; but when once a
+correct diagnosis is made, many doctors of less eminence might
+successfully treat the malady, seeing that the recognized
+pharmacop&#339;ia contains no secret remedies.</p>
+
+<p>Let the student of singing beware of the numerous impostors who claim
+to have a &#8220;Method,&#8221; a sort of bed of Procrustes, which the victim,
+whether long or short, is made to fit. A &#8220;method&#8221; must be adapted to
+the subject, not the subject made to fit the method. The object of all
+teaching is the same, viz., to impart knowledge; but the means of
+arriving at that end are multiple, and the manner of communicating
+instruction is very often personal. To imagine that the same mode of
+procedure, or &#8220;method,&#8221; is applicable to all voices, is as
+unreasonable as to expect that the same medicament will apply to all
+maladies. In imparting a correct emission of voice, science has not
+infrequently to efface the results of a previous defective use,
+inherent or acquired, of the vocal organ. Hence, although the object
+to be attained is in every case the same, the <i>modus operandi</i> will
+vary infinitely. Nor should these most important branches of
+Classification and Production be entrusted&#8212;as is often the case&#8212;to
+assistants, usually accompanists, lacking the necessary training for a
+work requiring great experience and ripe judgment. To a competent
+assistant may very properly be con<span class="pagenum"><a name="Page_4" id="Page_4">[Pg&#160;4]</a></span>fided the preparation of Technique,
+as applied to a mechanical instrument: All violins, for instance, are
+practically the same. But voices differ as do faces.</p>
+
+<p>The present mania for dragging voices up, and out of their legitimate
+<i>tessitura</i>, has become a very grave evil, the consequences of which,
+in many instances, have been most disastrous. Tolerable baritones have
+been transformed into very mediocre tenors, capable mezzo-soprani into
+very indifferent dramatic soprani, and so on. That this process may
+have answered in a few isolated cases, where the vocal organs were of
+such exceptional strength and resistance as to bear the strain, is by
+no means a guarantee that the same results may be obtained in every
+instance, and with less favoured subjects. The average compass in male
+voices is about two octaves minus one or two tones. I mean, of course,
+tones that are really available when the singer is on the stage and
+accompanied by an orchestra. Now, a baritone who strives to transform
+his voice into a tenor, simply loses the two lowest tones of his
+compass, possibly of good quality and resonance, and gains a minor or
+major third above the high G (sol) of a very poor, strained character.
+The compass of the voice remains exactly the same. He has merely
+exchanged several excellent tones below for some very poor ones above.
+I repeat, one who aspires to be a lyric artist requires the best
+possible teacher to guide his first steps; he may consult an inferior
+or incompetent professor, when so firmly established in the right path
+that he cannot possibly be led astray.<span class="pagenum"><a name="Page_5" id="Page_5">[Pg&#160;5]</a></span></p>
+
+<p>It is a common belief that singing-teachers of reputation do not care
+to occupy themselves with voice-production, or are unable to teach it.
+This is a serious error. A competent professor of singing is as
+capable of imparting the principles of this most important branch, as
+of directing the more &#230;sthetic studies of Style and R&#233;pertoire. All
+the really great and illustrious singing-masters of the past preferred
+to &#8220;form&#8221; the voices of their pupils. To continue and finish a
+predecessor&#8217;s work, or to erect a handsome and solid structure on
+defective foundations, is always a difficult task; sometimes an
+impossible one.</p>
+
+<p>Then, as regards the pupil, particularly one studying with a view to a
+professional career, a defective preparatory training may eventually
+mean serious material loss. The money and time spent on his vocal
+education is, in his case, an investment, not an outlay; the
+investment will be a poor one, should it be necessary later to devote
+further time and expend more money to correct natural defects that
+ought to have been corrected at the beginning of his studies, or to
+eradicate faults acquired during their progress.</p>
+
+<p>Furthermore, the purpose of some part of a singer&#8217;s preliminary
+education is to strengthen and fit the voice for the exacting demands
+of a professional career. As the training of an athlete&#8212;rower,
+runner, boxer, wrestler&#8212;not only perfects his technical skill, but
+also, by a process of gradual development, enables him to endure the
+exceptional strain he will eventually have to bear in a contest, so
+some of a singer&#8217;s early studies prepare<span class="pagenum"><a name="Page_6" id="Page_6">[Pg&#160;6]</a></span> his voice for the tax to
+which hereafter it will be subjected. If those studies have been
+insufficient, or ill-directed, failure awaits the d&#233;butant when he
+presents himself before the public in a spacious theatre or
+concert-hall and strives, ineffectually, to dominate the powerful
+sonorities of the large orchestras which are a necessity for modern
+scores. A sound and judiciously graduated preparatory training, in
+fact, is essential if the singer would avoid disappointment or a
+fiasco.</p>
+
+<p>The vocal education of many students, however, is nowadays hurried
+through with a haste that is equalled only by the celerity with which
+such aspirants for lyric honours return to obscurity.</p>
+
+
+
+<hr style="width: 65%;" />
+<p><span class="pagenum"><a name="Page_7" id="Page_7">[Pg&#160;7]</a></span></p>
+<h2><a name="CHAPTER_II" id="CHAPTER_II"></a>CHAPTER II<br />
+<br />
+<span class="smcap">The Value of Technique</span><br /><br /></h2>
+
+
+<p><span class="dropcap">B</span><b>RIEFLY</b> defined, the singer&#8217;s Technique may be said to consist
+principally of the ability to govern the voice in its three phases of
+Pitch, Colour, and Intensity. That is, he must be able to sing every
+note throughout the compass of the voice (Pitch) in different
+qualities or timbres (Colour), and with various degrees of power
+(Intensity). And although the modern schools of composition for the
+voice do not encourage the display of florid execution, a singer would
+be ill-advised indeed to neglect this factor, on the plea that it has
+no longer any practical application. No greater error is conceivable.
+Should an instrumental virtuoso fail to acquire mastery of
+transcendental difficulties, his performance of any piece would not be
+perfect: the greater includes the less. A singer would be very
+short-sighted who did not adopt an analogous line of reasoning.
+Without an appreciable amount of <i>agilit&#224;</i>, the performance of modern
+music is laboured and heavy; that of the classics, impossible. In
+fact, virtuosity, if properly understood, is as indispensable to-day
+as ever it was. As much vocal virtuosity is required to interpret
+successfully the music of Falstaff, in Verdi&#8217;s opera, as is necessary
+for <i>Maometto Secondo</i> or <i>Semiramide</i> by Rossini. It is simply
+another form of virtuosity; that<span class="pagenum"><a name="Page_8" id="Page_8">[Pg&#160;8]</a></span> is all. The lyric grace or dramatic
+intensity of many pages of Wagner&#8217;s music-dramas can be fully revealed
+only through a voice that has been rendered supple by training, and
+responsive to the slightest suggestion of an artistic temperament.</p>
+
+<p>In short, virtuosity may have changed in form, but it is still one of
+the cornerstones of the singer&#8217;s art. An executive artist will spare
+no pains to acquire perfect technical skill; for the <i>m&#233;tier</i>, or
+mechanical elements of any art, can be acquired, spontaneous though
+the results may sometimes appear. Its primary use is, and should be,
+to serve as a medium of interpretation. True, virtuosity is frequently
+a vehicle for personal display, as, notably, in the operas of
+Cimarosa, Bellini, Donizetti, and the earlier works of Rossini and
+Verdi. At its worst, however, it is a practical demonstration of the
+fact that the executant, vocal or instrumental, has completely
+mastered the mechanical elements of his profession; that, to use the
+<i>argot</i> of the studios, &#8220;<i>il conna&#238;t son m&#233;tier</i>&#8221; (he knows his
+trade).</p>
+
+<p>Imperfect technique, indeed, is to be deprecated, if merely for the
+reason that it may debar a singer from interpreting accurately the
+composer&#8217;s ideas. How seldom, if ever, even in the best lyric
+theatres, is the following passage heard as the composer himself
+indicated:<span class="pagenum"><a name="Page_9" id="Page_9">[Pg&#160;9]</a></span></p>
+
+<p class="center"><br />
+<img src="images/music02.png" width="518" height="243" alt="Plus blanche, Les Huguenots: Act I, Meyerbeer" title="Plus blanche, Les Huguenots: Act I, Meyerbeer" /></p>
+
+<p class="center">[<a href="music/music02.midi">Listen</a>]</p>
+
+<p><br />or the concluding phrase of &#8220;Celeste Aida&#8221; (in <i>Aida</i>, Act I), as
+Verdi wrote it and wished it to be sung:</p>
+
+<p class="center"><br />
+<img src="images/music03.png" width="502" height="87" alt="un trono vicino al sol" title="un trono vicino al sol" /></p>
+
+<p class="center">[<a href="music/music03.midi">Listen</a>]</p>
+
+<p><br />At present the majority of operatic tenors, to whom are assigned the
+strong tenor (<i>fort t&#233;nor</i>) r&#244;les, can sing the higher tones of their
+compass only in <i>forte</i>, and with full voice. Thus an additional and
+very charming effect is lost to them. Yet Adolphe Nourrit, who created
+the r&#244;le of Rao&#251;l in <i>Les Huguenots</i>, sang, it is said, the phrase as
+written. The late Italo Campanini, Sims Reeves, and the famous Spanish
+tenor Gayarr&#233;, were all able to sing the</p>
+
+<p class="center"><br />
+<img src="images/music04.png" width="143" height="73" alt="music" title="music" /></p>
+
+<p class="center">[<a href="music/music04.midi">Listen</a>]</p>
+
+<p><br /><i>mezza voce</i>, by a skilled use of the covered tones.<span class="pagenum"><a name="Page_10" id="Page_10">[Pg&#160;10]</a></span></p>
+
+<p>I do not ignore the fact that cases occur where artists, owing to some
+physiological peculiarity or personal idiosyncrasy, are unable to
+overcome certain special difficulties; where, indeed, the effort would
+produce but meagre results. But such instances are the exception, not
+the rule. The lyric artist who is gifted merely with a beautiful
+voice, over which he has acquired but imperfect control, is at the
+mercy of every slight indisposition that may temporarily affect the
+quality and sonority of his instrument. But he who is a &#8220;singer&#8221; in
+the real and artistic sense of the word, he who has acquired skill in
+the use of the voice, is armed at all points against such accidents.
+By his art, by clever devices of varied tone-colour and degrees of
+intensity, he can so screen the momentary loss of brilliance, etc., as
+to conceal that fact from his auditors, who imagine him to be in the
+possession of his normal physical powers. The technical or mechanical
+part of any art can be taught and learned, as I have said. It is only
+a case of well-guided effort. Patience and unceasing perseverance will
+in this, as in all other matters, achieve the desired result. Nature
+gives only the ability and aptitude to acquire; it is persistent study
+which enables their possessor to arrive at perfection. Serious and
+lasting results are obtained only by constant practice. It is a
+curious fact that many people more than usually gifted arrive only at
+mediocrity. Certain things, such as the trill or scales, come
+naturally easy to them. This being the case, they neglect to perfect
+their <i>agilit&#224;</i>, which remains defective. Others, although but
+moder<span class="pagenum"><a name="Page_11" id="Page_11">[Pg&#160;11]</a></span>ately endowed, have arrived at eminence by sheer persistence and
+rightly directed study. It is simply a musical version of the Hare and
+the Tortoise.</p>
+
+<hr style="width: 45%;" />
+
+<p>But we must make a great distinction between the preliminary exercises
+which put the singer in full possession of the purely mechanical
+branch of his art (Technique), and the &#230;sthetic studies in Taste and
+the research for what dramatic authors call &#8220;the Science of Effect,&#8221;
+or Style. The former must be thoroughly accomplished, otherwise the
+latter cannot be undertaken satisfactorily. A good and reliable
+technique is undoubtedly of primary necessity. But it is by no means
+all. One may have a voice which is well-posed and of good resonance,
+and also have sufficient flexibility to perform neatly all the rapid
+passages with which the pages of the classic composers abound. But
+this is not singing; nor is the possessor of these an artist. He has
+simply the necessary and preliminary knowledge which should enable him
+to become one, by further study of the &#230;sthetic side of the art of
+singing. He has, as it were, collected the materials necessary for the
+erection of a splendid edifice, and has now to learn the effective
+means of combining them. So, when the voice is &#8220;formed,&#8221; a frank and
+easy emission obtained, a sufficiency of Technique acquired, the next
+step in the singer&#8217;s education is the practical study of the problem
+of Style.</p>
+
+
+
+<hr style="width: 65%;" />
+<p><span class="pagenum"><a name="Page_12" id="Page_12">[Pg&#160;12]</a></span></p>
+<h2><a name="CHAPTER_III" id="CHAPTER_III"></a>CHAPTER III<br />
+<br />
+<span class="smcap">Analysis of Style</span><br /><br /></h2>
+
+
+<p><span class="dropcap">W</span><b>HAT</b> is Style?</p>
+
+<p>In reality the question is two-fold. One may have Style; and one may
+have <i>a</i> style. The former is general; the latter individual. The
+former can be taught and learned, for it is based on certain
+well-defined rules; the latter is personal&#8212;in other words, is not
+universally applicable. Not infrequently it is a particular
+application of those rules which gives the impress of originality. But
+correct taste must first be formed by the study of the noblest
+creations in the particular art that claims attention. In singing, as
+in the sister arts, the laws which govern Style must be apprehended
+and understood before Individuality can be given full scope.
+Otherwise, what to the executant would appear as original might, to
+correct taste and judgment, appear ridiculous and extravagant. A
+genius is sometimes eccentric, but eccentricity is not genius. Vocal
+students should hear as many good singers as possible, but actually
+imitate none. A skilled teacher will always discern and strive to
+develop the personality of the pupil, will be on the alert to discover
+latent features of originality and character. He will respect and
+encourage individuality, rather than insist upon the servile imitation
+of some model&#8212;even though that model be himself. As the distinguished
+artist Victor Maurel has<span class="pagenum"><a name="Page_13" id="Page_13">[Pg&#160;13]</a></span> justly observed: &#8220;Of all the bad forms of
+teaching singing, that by imitation is the worst&#8221; (<i>Un Probl&#232;me
+d&#8217;Art</i>).</p>
+
+<p>In singing, as in painting, a copy has never the value of the
+original. Moreover, slavish imitation in any art has a deleterious
+influence. But to respect irreproachable examples and fitly observe
+sound rules, whose very survival often justifies their existence and
+testifies to their value, is always of benefit to the artist. To
+imitate is to renounce one&#8217;s individual expression of an ideal and
+present that of another. But to observe established and accepted laws,
+laws founded on Truth and consecrated by Time, is not to imitate, when
+those laws are applied in an original and individual manner that is in
+harmony with the personality of the interpreter. &#8220;<i>L&#8217;art est un coin
+de Nature vu &#224; travers un temp&#233;rament.</i>&#8221; In literature, each writer
+has his own special style which may easily be recognized; but all
+follow the same grammatical rules. A correct style in singing consists
+in the careful observance of the principles of Technique; a perfect
+Diction; the appropriate Colouring of each sentiment expressed;
+attention to the musical and poetic Accents; judicious and effective
+Phrasing (whether musical or verbal), so that the meaning of both
+composer and poet may be placed in the clearest light.</p>
+
+<hr style="width: 45%;" />
+
+<p>Let us analyze Style in its three principal aspects: Colour, Accent,
+and Phrasing.<span class="pagenum"><a name="Page_14" id="Page_14">[Pg&#160;14]</a></span></p>
+
+
+<h3><a name="COLOUR"></a>COLOUR</h3>
+
+<p><span class="dropcap">O</span><b>F</b> all the elements of Style in singing, the most potent and
+effective&#8212;the one, indeed, that is essential for the success of the
+lyric artist&#8212;is the ability to vary the vocal timbre; that is, to
+sing with Colour. This desideratum of varied tone-colour is sought
+even by instrumentalists. Nay, the instrument itself is sometimes
+constructed with this object in view. Witness the invention of the
+&#8220;soft&#8221; pedal, which is intended not solely to reduce the intensity of
+tone in the pianoforte&#8212;that may be accomplished by a modification of
+force in striking the note&#8212;but to give the tones a darker, more
+sombre quality, or colour. To vary the tone-colour, a violinist or
+&#8217;cellist draws the bow across the strings close to, or distant from,
+the bridge, in accordance with his desire for a reed-like or
+flute-like quality of tone. Anyone who has listened to the performance
+of the slow movement in Paganini&#8217;s Concerto in <i>D</i>, by an Ysaye or a
+Mischa Elman, will have remarked how the skilful use of varied tone
+colour and other devices imparts a wonderful charm to music
+intrinsically of but mediocre value.</p>
+
+<p>A singer may have a good quality of voice; but that is normal. If he
+can vary it only in degrees of loudness (Intensity) and not in
+differences of timbre (Colour) he cannot be ranked as an artist. No
+matter how great the natural beauty and sonority of his voice, his
+performance will always be monotonous, if he has only one tint on his
+vocal palette. In speech&#8212;from which<span class="pagenum"><a name="Page_15" id="Page_15">[Pg&#160;15]</a></span> the effect is
+borrowed&#8212;utterances of grave and serious meaning, and those of gayer
+import, are not made with the same colour of voice. A brighter quality
+(<i>voix claire</i>) is used instinctively for an ejaculation uttered by
+one to whom pleasant or joyful news has been communicated. On the
+contrary, should it be the cause of sorrow or grief for the listener,
+he will use&#8212;should he have occasion to reply&#8212;a darker quality of
+voice (<i>voix sombre</i>). Such phenomena are physiological. The vocal
+organs are the most sensitive of any in the human economy: they betray
+at once the mental condition of the individual. Joy is a great tonic,
+and acts on the vocal cords and mucous membrane as does an astringent;
+a brilliant and clear quality of voice is the result. Grief or Fear,
+on the other hand, being depressing emotions, lower the vitality, and
+the debilitating influence communicates to the voice a dull and sombre
+character.</p>
+
+<p>On this question of colour in the voice, the masterly writer and
+critic Legouv&#233; says: &#8220;Certain particular gifts are necessary if the
+speech is to possess colour. The first of these is Metal in the voice.
+He who has it not will never shine as a colourist. The metal may be
+gold, silver or brass; each has its individual characteristic. A
+golden voice is the most brilliant; a silvery voice has the most
+charm; a brassy voice the most power. But one of the three
+characteristics is essential. A voice without metallic ring is like
+teeth without enamel; they may be sound and healthy, but they are not
+brilliant.... In speech there are several colours&#8212;a bright, ringing
+quality; one soft and veiled.<span class="pagenum"><a name="Page_16" id="Page_16">[Pg&#160;16]</a></span> The bright, strident hues of purple and
+gold in a picture may produce a masterpiece of gorgeous colouring; so,
+in a different manner, may the harmonious juxtaposition of greys,
+lilacs and browns on a canvas by Veronese, Rubens, or Delacroix.</p>
+
+<p>&#8220;Last of all is the velvety voice. This is worthless if not allied
+with one of the three others. In order that a velvety voice may
+possess value it must be reinforced (<i>doubl&#233;e</i>) with &#8217;metal.&#8217; A
+velvety voice is merely one of cotton.&#8221;<a name="FNanchor_1_1" id="FNanchor_1_1"></a><a href="#Footnote_1_1" class="fnanchor">[1]</a></p>
+
+<p>It may be of interest to notice that the quality which in France is
+designated &#8220;timbre,&#8221; is called by the Italians &#8220;<i>metallo di voce</i>,&#8221;
+or, &#8220;metal of the voice.&#8221; Those who heard Madame Sarah Bernhardt
+fifteen or twenty years ago will readily understand why her countless
+friends and admirers always spoke of her matchless organ as &#8220;<i>la voix
+d&#8217;or</i>.&#8221;</p>
+
+<p>The late Sims Reeves, the famous tenor, was a perfect master of all
+varieties and shades of vocal colour, and displayed his mastery with
+certainty and unfailing effect in the different fields of Oratorio and
+Opera. In the recitative &#8220;Deeper and deeper still,&#8221; with its
+subsequent aria &#8220;Waft her, angels, through the skies&#8221; [Handel], he
+ranged through the entire gamut of tone-colour. As Edgardo in
+Donizetti&#8217;s <i>Lucia di Lammermoor</i>, he launched the &#8220;Maladetta&#8221; phrase
+of the<span class="pagenum"><a name="Page_17" id="Page_17">[Pg&#160;17]</a></span> curse with a voice that was almost &#8220;white&#8221; with frenzied rage;
+while the pathetic sombre quality he employed in the &#8220;<i>Fra poco a me
+ricovero</i>&#8221; fitly accorded with the despairing mood and gloomy
+surroundings of the hapless Edgardo.</p>
+
+<p>Some singers control but two colours or timbres&#8212;the very clear (open)
+and the very sombre (closed), which they exaggerate. In reality,
+however, the gradations between them can be made infinite by the
+artist who is in possession of the secret&#8212;especially if he has the
+ability to combine Colour with Intensity.</p>
+
+<p>An illustration of this is found in the example cited in the opening
+paragraph of the present work:&#8212;&#8220;For now is Christ risen.&#8221; Not only
+did Mme. Tietjens make a gradual <i>crescendo</i> from the first note to
+the climax, but the tonal colours were also subtly graduated from a
+comparatively sombre quality to one of the utmost clearness and
+brilliance.</p>
+
+<p class="center"><br />
+<img src="images/music05.png" width="514" height="230" alt="For now is Christ risen" title="For now is Christ risen" /></p>
+
+<p class="center">[<a href="music/music05.midi">Listen</a>]</p>
+
+<p><br />
+As contrasting examples in which the two principal colours may be
+employed effectively, I may cite the<span class="pagenum"><a name="Page_18" id="Page_18">[Pg&#160;18]</a></span> Bacchic air, &#8220;<i>&#212; vin, dissipe la
+tristesse</i>,&#8221; and the pensive monologue, &#8220;<i>&#202;tre, ou ne pas &#234;tre</i>,&#8221; both
+from the opera <i>Hamlet</i>, by Ambroise Thomas. The forced, unnatural
+quality of the first calls for the use of a clear, open, brilliant
+timbre.</p>
+
+<p class="center">
+<br />
+<img src="images/music06.png" width="508" height="173" alt="Ô vin, dissipe la tristesse" title="Ô vin, dissipe la tristesse" /></p>
+
+<p class="center">[<a href="music/music06.midi">Listen</a>]</p>
+
+<p><br />
+But for the second, &#8220;To be, or not to be&#8221;:</p>
+
+<p class="center">
+<br />
+<img src="images/music07.png" width="506" height="91" alt="Être, ou ne pas être" title="Être, ou ne pas être" /></p>
+
+<p class="center">[<a href="music/music07.midi">Listen</a>]</p>
+
+<p><br />
+a sombre, closed timbre is necessary. The opening recitative of
+Vanderdecken in <i>Der fliegende Holl&#228;nder</i> by Wagner would be absurd,
+and utterly out of harmony with the character and his surroundings, if
+sung in the open timbre. Perhaps I ought to explain that &#8220;open&#8221; (<i>voix
+claire</i>, Fr.), and &#8220;closed&#8221; (<i>voix sombre</i>, Fr.), are technical terms,
+of which the equivalents are accepted in all countries where the art
+of singing is cultivated; terms that apply to <i>quality</i> of tone, not
+to the <i>physical</i> process by which these effects are produced. Such a
+mistake is not infrequently made by vocal physiologists who are not
+practical musicians or singing-teachers. Nor must the term &#8220;clear
+timbre&#8221; be understood to<span class="pagenum"><a name="Page_19" id="Page_19">[Pg&#160;19]</a></span> mean the &#8220;white voice&#8221; (&#8220;<i>voix blanche</i>,&#8221; or
+&#8220;<i>voce bianca</i>&#8221;); this, like the guttural timbre, being only
+occasionally employed for the expression of some violent passion, such
+as hate.</p>
+
+<p>Like the admirable paintings of Eug&#232;ne Carri&#232;re, for instance his
+masterly portrait of Paul Verlaine, a song, sometimes an entire r&#244;le,
+may be worked out in monochrome; though the gradations of tint are
+numerous, they are consistently kept within their preconceived
+colour-scheme. Some few exceptional singers, like Jean-Baptiste Faure
+or Maurice Renaud, have this gift of many shades of the one colour in
+their singing of certain r&#244;les. The colour is determined by the
+psychological character of the personage portrayed; a gay, reckless
+Don Giovanni calls for a brighter colouring throughout than that
+necessitated by the music allotted to a gloomy Vanderdecken or an
+embittered and vengeful Rigoletto. One may, therefore, formulate the
+following rule: The general character of the composition will decide
+the tonal colour appropriate for its general interpretation; the
+colouring necessary for its component phrases will be determined by
+the particular sentiment embodied in them. Emotions like sorrow, fear,
+despair, will find fitting expression in the sombre quality of voice,
+graduated in accordance with the intensity of the emotion. The
+opposite sentiments of joy, love, courage, hope, are fittingly
+interpreted by gradations of the clear and brilliant timbre. The dark
+or sombre voice will be used in varying shades for the recitative from
+<i>Samson</i> (Handel), &#8220;Oh, loss of sight:&#8221;<span class="pagenum"><a name="Page_20" id="Page_20">[Pg&#160;20]</a></span></p>
+
+<p class="center">
+<br />
+<img src="images/music08.png" width="433" height="77" alt="Oh, loss of sight, of thee I most complain!" title="Oh, loss of sight, of thee I most complain!" /></p>
+
+<p class="center">[<a href="music/music08.midi">Listen</a>]</p>
+
+<p><br />
+while the clearest and most brilliant timbre possible to be obtained
+is plainly indicated for the same composer&#8217;s &#8220;Sound an alarm!&#8221; from
+<i>Judas Maccab&#230;us</i>.</p>
+
+<p class="center">
+<br />
+<img src="images/music09.png" width="431" height="83" alt="Sound an alarm, your silver trumpets sound!" title="Sound an alarm, your silver trumpets sound!" /></p>
+
+<p class="center">[<a href="music/music09.midi">Listen</a>]</p>
+
+<p><br />
+It was a rule formulated by the old Italian school of singing, when
+<i>l&#8217;arte del bel canto</i> in its true sense did really exist, that no
+phrase&#8212;musical or verbal&#8212;should be repeated with the same nuances.
+Very many instances might be given of the happy effect obtained by
+observing this rule. One will suffice. It is taken from the Lamento of
+Queen Catherine (of Aragon), who, slighted by Henry VIII. for Anne
+Boleyn, sighs for her native Spain.</p>
+
+<p class="center">
+<br />
+<img src="images/music10.png" width="507" height="115" alt="Lamento, Henri VIII: Act IV, Saint-Saëns" title="Lamento, Henri VIII: Act IV, Saint-Saëns" /></p>
+
+<p class="center">[<a href="music/music10.midi">Listen</a>]</p>
+
+<p><br />
+Sudden contrasts of colour are of great dramatic effect. A good
+illustration is found in the air &#8220;<i>Divinit&#233;s du Styx</i>,&#8221; from Gluck&#8217;s
+<i>Alceste</i>. This contrast is still further heightened by a sudden
+change of both Intensity and Tempo.<span class="pagenum"><a name="Page_21" id="Page_21">[Pg&#160;21]</a></span></p>
+
+<p class="center">
+<br />
+<img src="images/music11.png" width="509" height="158" alt="Divinités du Styx" title="Divinités du Styx" /></p>
+
+<p class="center">[<a href="music/music11.midi">Listen</a>]</p>
+
+<p><br />
+This last phrase, &#8220;<i>Ministres de la mort!</i>&#8221; should be sung in a very
+sombre voice of almost guttural character.</p>
+
+<p>It is, indeed, in the recitatives and declamatory passages of Gluck,
+Handel, Sacchini, that lyric artists will find unsurpassable material
+for study. Requiring, as such works do for their perfect
+interpretation, all the resources of Colour, Accent, and Phrasing,
+such study is the best possible preparation for the fitting musical
+presentment of the lyric drama in some of its later phases.</p>
+
+<p>Colour, then, is the basic element of Style in singing. It is
+reinforced by Accent, which, as the name implies, is the accentuation
+of details that require to be brought into prominence. This subject,
+therefore, next claims attention.</p>
+
+<hr style="width: 45%;" />
+
+<h3><a name="ACCENT"></a>ACCENT</h3>
+
+<p><span class="dropcap">I</span><b>N</b> singing, two kinds of accent are recognized, the Musical accent,
+and the Poetic, or Verbal, accent. The first appertains to the domain
+of sound; the second, to the domain of significance. The first, for
+&#230;sthetic<span class="pagenum"><a name="Page_22" id="Page_22">[Pg&#160;22]</a></span> reasons, throws into relief certain tones of a musical
+phrase; the second brings into prominence the sentiment underlying the
+poem or text. Note, also, that in spoken declamation, accent applies
+to a syllable only; in singing, the verbal accent affects an entire
+word.</p>
+
+<p>In its relation to Style, the Musical accent must be carefully
+distinguished from the Metrical accent which is determined by Time, or
+Measure, as well as from the Verbal accent whereby the import of a
+word is rendered clear to the listener. Here is an example of Musical
+accent, from Act III of Verdi&#8217;s <i>Ballo in Maschera</i>:</p>
+
+<p class="center">
+<br />
+<img src="images/music12.png" width="434" height="147" alt="Saper vorreste di che si veste quando l'è cosa ch'ei vuol
+nascosa" title="Saper vorreste di che si veste quando l'è cosa ch'ei vuol
+nascosa" /></p>
+
+<p class="center">[<a href="music/music12.midi">Listen</a>]</p>
+
+<p><br />
+The accents (marked thus
+<img src="images/accent.png" width="21" height="12" alt="accent symbol" title="accent symbol" />) give to the musical phrase a
+piquancy that is admirably in keeping with the gay and careless
+character of the page, Oscar, who sings it. In fact, as regards Style,
+Musical accent is particularly valuable in song for the purpose of
+setting forth the true character of the music. Hence, it may be
+regarded as a means of characterization.</p>
+
+<p>This use of accent for characterization is also quite distinct from
+its use with &#8220;accidentals,&#8221; or tones foreign to the prevailing
+tonality. In the former case, sentiment dictates its employment; in
+the second, the accent guarantees, as it were, the accuracy of the
+singer&#8217;s<span class="pagenum"><a name="Page_23" id="Page_23">[Pg&#160;23]</a></span> intonation. By the faint stress laid on the foreign tone,
+the listener is assured that the executant is not deviating from the
+true pitch. In the following examples, the tones marked <img src="images/accent.png" width="21" height="12" alt="accent symbol" title="accent symbol" />
+are &#8220;accidentals,&#8221; and for that reason should receive a faint
+stress. The first example is from <i>La Forza del Destino</i>.</p>
+
+<p class="center">
+<br />
+<img src="images/music13.png" width="509" height="151" alt="Madre, Madre, pietosa Vergine, perdona al mio peccato, m'aita
+quell'ingrato" title="Madre, Madre, pietosa Vergine, perdona al mio peccato, m'aita
+quell'ingrato" /></p>
+
+<p class="center">[<a href="music/music13.midi">Listen</a>]</p>
+
+<p class="center"><br />
+<img src="images/music14.png" width="509" height="107" alt="Je dis que rien, Carmen: Act III, Bizet" title="Je dis que rien, Carmen: Act III, Bizet" /></p>
+
+
+<p class="center">[<a href="music/music14.midi">Listen</a>]</p>
+
+<p><br />
+These different uses of accent are well illustrated in the following
+example.</p>
+
+<p class="center">
+<br />
+<img src="images/music15.png" width="507" height="112" alt="Come unto Him, Messiah, Handel" title="Come unto Him, Messiah, Handel" /></p>
+
+
+<p class="center">[<a href="music/music15.midi">Listen</a>]</p>
+
+<p><br />
+The tone allotted to the second syllable of the word &#8220;upon&#8221; is
+accentuated to affirm the accuracy of the singer&#8217;s intonation; the
+slight emphasis of the word &#8220;Him&#8221; brings into relief the meaning of
+the text. This<span class="pagenum"><a name="Page_24" id="Page_24">[Pg&#160;24]</a></span> latter, then, is an illustration of Verbal, or
+&#8220;Poetic&#8221; accent which, I repeat, throws into relief, without
+consideration of its musical value or position, some word of special
+significance in the verbal phrase. To render the poetic meaning of the
+text clear to the listener, a correct use of verbal accent is
+imperative. Its importance and effect, particularly in recitative and
+declamatory singing, are analogous to the importance and effect of
+emphasis in spoken language. The example is from <i>Samson</i> (Handel):</p>
+
+<p class="center">
+<br />
+<img src="images/music16.png" width="506" height="73" alt="O loss of sight, of thee I most complain" title="O loss of sight, of thee I most complain" /></p>
+
+<p class="center">[<a href="music/music16.midi">Listen</a>]</p>
+
+<p><br />
+Here I may point out that in <i>cantabile</i> phrases the stream of sound,
+notwithstanding its division into syllables by the organs of
+articulation&#8212;lips, tongue, etc.&#8212;should pour forth smoothly and
+uninterruptedly. The full value of each tone must be allotted to the
+vowel; the consonants which precede or end the syllables are
+pronounced quickly and distinctly. In declamatory singing, on the
+contrary, the consonants should be articulated with greater
+deliberation and intensity.</p>
+
+<p class="center">
+<br />
+<img src="images/music17.png" width="508" height="80" alt="I know that my Redeemer liveth" title="I know that my Redeemer liveth" /></p>
+
+<p class="center">[<a href="music/music17.midi">Listen</a>]</p>
+
+<p><br />
+Here an emphatic accent on the consonant &#8220;n&#8221; irresistibly suggests the
+idea of knowledge; that is, of absolute certainty, not of mere
+belief.<span class="pagenum"><a name="Page_25" id="Page_25">[Pg&#160;25]</a></span></p>
+
+<p>Very frequently the metrical accent does not coincide with the
+syllabic accent: the musical accent will fall on an unaccented
+syllable, or vice versa. Particularly is this the case when the
+composer is not perfectly familiar with the rules that govern the
+prosody of the language to which he is setting music. In the operas of
+Meyerbeer many passages occur in which it is necessary to readjust the
+syllables to the notes on account of their misplaced accent. Here is
+an illustration from Ho&#235;l&#8217;s Grand Air in <i>Le Pardon de Plo&#235;rmel</i>
+(Meyerbeer), Act II. (Note that the tonic accent in French falls
+<i>always</i> on the last pronounced syllable.)</p>
+
+<p class="center">
+<br />
+<img src="images/music18.png" width="463" height="71" alt="Et ranimez, ranimez ma foi (as printed)" title="Et ranimez, ranimez ma foi (as printed)" /></p>
+
+<p class="center">[<a href="music/music18.midi">Listen</a>]</p>
+
+<p><br />
+The error is easily remedied:</p>
+
+<p class="center">
+<br />
+<img src="images/music19.png" width="496" height="73" alt="Et ranimez, ranimez ma foi (should be sung)" title="Et ranimez, ranimez ma foi (should be sung)" /></p>
+
+<p class="center">[<a href="music/music19.midi">Listen</a>]</p>
+
+<p><br />
+In the contralto aria &#8220;He shall feed His flock,&#8221; in Handel&#8217;s
+<i>Messiah</i>, the unaccented word &#8220;shall&#8221; falls on the most strongly
+accented note of the bar. If performed thus, it would give a most
+aggressive character to the passage, implying that some one had
+previously denied the assertion. This would be entirely at variance
+with the consolatory and peaceful message that is contained in the
+text and shadowed forth in the music.<span class="pagenum"><a name="Page_26" id="Page_26">[Pg&#160;26]</a></span></p>
+
+<p class="center">
+<br />
+<img src="images/music20.png" width="503" height="157" alt="He shall feed his flock like a shepherd" title="He shall feed his flock like a shepherd" /></p>
+
+<p class="center">[<a href="music/music20.midi">Listen</a>]</p>
+
+<p><br />
+Instances of faulty syllabic accent abound in Handel&#8217;s works, both his
+English oratorios and his Italian operas. Many examples could be
+quoted. Here is a phrase from the beautiful air for mezzo-soprano sung
+by Ruggiero in the opera of <i>Alcina</i>.</p>
+
+<p class="center">
+<br />
+<img src="images/music21.png" width="376" height="147" alt="Verdi prati" title="Verdi prati" /></p>
+
+<p class="center">[<a href="music/music21.midi">Listen</a>]</p>
+
+<p><br />
+In Mendelssohn&#8217;s <i>Elijah</i>, the following phrase is nearly always sung
+as written, unless the singer is familiar with the best traditions:</p>
+
+<p class="center">
+<br />
+<img src="images/music22.png" width="231" height="84" alt="Give me thy son!" title="Give me thy son!" /></p>
+
+<p class="center">[<a href="music/music22.midi">Listen</a>]</p>
+
+<p><br />
+It may be that the artists who slavishly follow the published text
+fear being accused of altering the composer&#8217;s music, or are ignorant
+of the fact that there exists a better version, which is this:<span class="pagenum"><a name="Page_27" id="Page_27">[Pg&#160;27]</a></span></p>
+
+<p class="center">
+<br />
+<img src="images/music23.png" width="230" height="70" alt="Give me thy son!" title="Give me thy son!" /></p>
+
+<p class="center">[<a href="music/music23.midi">Listen</a>]</p>
+
+<p><br />
+It will be seen that the music is not changed in the least; the
+musical and verbal accents have been merely readjusted and made to
+coincide.</p>
+
+<p>In order to avoid the disagreeable effect of singing one half-bar
+<i>andante</i> to the syllable &#8220;<i>si</i>&#8221; (pronounced like &#8220;zee&#8221; in English),
+the following phrase of Marguerite de Valois in <i>Les Huguenots</i>
+(Meyerbeer), Act II, is changed thus:</p>
+
+<p class="center">
+<br />
+<img src="images/music24.png" width="499" height="175" alt="en aucun temps n'eût choisi mieux" title="en aucun temps n'eût choisi mieux" /></p>
+
+<p class="center">[<a href="music/music24.midi">Listen</a>]</p>
+
+<hr style="width: 45%;" />
+
+<h3><a name="INTENSITY"></a>INTENSITY</h3>
+
+<p><span class="dropcap">I</span><b>N</b> musical terminology every gradation of volume in sound, from the
+faintest to the loudest, enters into the category of Intensity. One of
+the accepted rules of the <i>arte del bel canto</i> was, that every
+sustained tone should be coloured by some graduation of intensity.<span class="pagenum"><a name="Page_28" id="Page_28">[Pg&#160;28]</a></span>
+Thus the ability to augment and diminish the volume of tone was so
+highly esteemed&#8212;indeed, so essential&#8212;that singers spent much time in
+acquiring the <i>messa di voce</i>, that is, the steadily graduated
+emission of tone from the softest degree to the loudest and again to
+the softest: <i>p</i> <img src="images/crescendo.jpg" width="42" height="12" alt="crescendo symbol" title="crescendo symbol" /> <i>f</i> <img src="images/decrescendo.jpg" width="40" height="12" alt="decrescendo symbol" title="decrescendo symbol" /> <i>p</i>. This exercise
+invariably formed a part of each day&#8217;s study, and was practised on
+several vowels throughout the scale, except the extreme tones, save in
+rare instances. It was, in fact, indispensable that the singer should
+be able to colour every tone in three forms of graduated intensity:
+Soft to loud <i>p</i> <img src="images/crescendo.jpg" width="42" height="12" alt="crescendo symbol" title="crescendo symbol" /> <i>f</i>;
+loud to soft <i>f</i> <img src="images/decrescendo.jpg" width="40" height="12" alt="decrescendo symbol" title="decrescendo symbol" /> <i>p</i>;
+and soft to loud and soft again <i>p</i> <img src="images/crescendo.jpg" width="42" height="12" alt="crescendo symbol" title="crescendo symbol" /> <i>f</i> <img src="images/decrescendo.jpg" width="40" height="12" alt="decrescendo symbol" title="decrescendo symbol" /> <i>p</i>.</p>
+
+<p>This command of intensity, therefore, is invaluable. But it is even
+more effective when the artist has the power to combine the various
+gradations of Intensity with different shades of Colour; in other
+words, when he can sing a tone <i>crescendo</i> and <i>diminuendo</i> in the
+clear and sombre timbres.</p>
+
+<p>The passage, already cited, from Alceste&#8217;s great air in Gluck&#8217;s opera
+<i>Alceste</i>, furnishes an admirable illustration of the dramatic emotion
+created by a sudden contrast of Intensity as well as Colour. In the
+invocation &#8220;Ye ministers that dwell in night!&#8221; the clear timbre is
+used with gradually increasing volume until at the phrase (sung
+<i>adagio</i>) &#8220;Ministers of death!&#8221; the timbre changes abruptly to a
+sombre quality with sinister effect, which effect is augmented by
+being sung <i>pp</i>.<span class="pagenum"><a name="Page_29" id="Page_29">[Pg&#160;29]</a></span></p>
+
+<p class="center"><br />
+<img src="images/music25.png" width="520" height="507" alt="Gluck (Alceste: Act I)" title="Gluck (Alceste: Act I)" /></p>
+
+<p class="center">[<a href="music/music25.midi">Listen</a>]</p>
+
+<p><br />
+A still more striking example of the impressive effect produced by
+sudden contrasts of intensity is offered in the magnificent air &#8220;Total
+Eclipse,&#8221; from <i>Samson</i> (Handel). In it, a judicious use of
+tone-colour, accent, and variations of tempo, all combine to elucidate
+in the highest possible degree the idea of both composer and poet:<span class="pagenum"><a name="Page_30" id="Page_30">[Pg&#160;30]</a></span></p>
+
+<p class="center">
+<br />
+<img src="images/music26.png" width="517" height="225" alt="Sun, moon and stars are dark to me" title="Sun, moon and stars are dark to me" /></p>
+
+<p class="center">[<a href="music/music26.midi">Listen</a>]</p>
+
+<p><br />
+The words &#8220;Sun, moon and stars&#8221; should be given strongly accentuated,
+and the tempo gradually accelerated. The repetition of the phrase
+should be sung with still greater intensity; then, at the passage &#8220;are
+dark to me,&#8221; the colour of the voice changes to one of very sombre
+quality, and the original tempo is resumed. The first consonant in the
+word &#8220;dark&#8221; should receive a slight stress.</p>
+
+<p>The <i>crescendo</i> has always been a favourite device of composers,
+particularly of those who write for the lyric theatre. It was an
+effect held in high esteem by Rossini, who introduced it constantly in
+his operas&#8212;witness his overtures and ensembles. All are familiar with
+the wonderful <i>crescendo</i> which precedes the appearance of the Knight
+of the Swan, in <i>Lohengrin</i>, where the sonorities are augmented by
+gradual additions of voices and instruments until the culminating
+point is reached. An instance more poignant still is found in the
+great &#8220;Liebestod&#8221; in <i>Tristan und Isolde</i>.</p>
+
+<p>Although H&#233;rold, the French composer, observed that in working up to a
+climax one should begin a long way<span class="pagenum"><a name="Page_31" id="Page_31">[Pg&#160;31]</a></span> off, a singer must be careful not
+to reach his maximum of vocal sonority before the musical climax is
+attained. The tenor Duprez created a sensation that is historic, in
+the long <i>crescendo</i> passage in the fourth act of <i>Guillaume Tell</i>, by
+gradually increasing the volume of sound, as the phrase developed in
+power and grandeur, until the end, which he delivered with all the
+wealth of his exceptionally resonant voice.</p>
+
+<p>Before closing this chapter on Intensity, I should advise singers
+whose voices possess great natural volume or power not to abuse this
+valuable quality by employing it too frequently. The ear of a listener
+tires sooner of extreme sonority than of any other effect. Talma, the
+great actor, wrought many reforms on the French dramatic stage, not
+only in costume&#8212;prior to his time Greek or Roman dress only was worn
+in tragedy&#8212;but also in the manner of delivering tragic verse. Against
+the custom, then prevalent, of always hurling forth long tirades at
+full voice, he inveighed in these terms: &#8220;Of all monotonous things,
+<i>uproar</i> is the most intolerable&#8221; (<i>de toutes les monotonies, celle de
+la force est la plus insupportable</i>). An artistic singer will use his
+most powerful tones, as a painter employs his most vivid colours,
+sparingly.</p>
+
+<hr style="width: 45%;" />
+
+<p><span class="pagenum"><a name="Page_32" id="Page_32">[Pg&#160;32]</a></span></p>
+
+<h3><a name="PHRASING"></a>PHRASING</h3>
+
+<p><span class="dropcap">P</span><b>HRASING</b> is simply musical punctuation. In singing, it may be
+separated, like accent, into two divisions: Musical and Poetic, or
+Verbal, phrasing. If the following passage were performed by an
+instrument, it would not require any particular grouping or phrasing:</p>
+
+<p class="center">
+<br />
+<img src="images/music27.png" width="431" height="69" alt="music" title="music" /></p>
+
+<p class="center">[<a href="music/music27.midi">Listen</a>]</p>
+
+<p><br />
+But when sung, it would fail in effect if not performed with a very
+slight pause after the word &#8220;nobis,&#8221; thus:</p>
+
+<p class="center">
+<br />
+<img src="images/music28.png" width="431" height="100" alt="Ave Maria, Luzzi" title="Ave Maria, Luzzi" /></p>
+
+<p class="center">[<a href="music/music28.midi">Listen</a>]</p>
+
+<p><br />
+As another illustration of the excellent effect of correct phrasing
+may be cited the song <i>Psych&#233;</i>, by Paladilhe. Its effect is heightened
+if the musical phrasing be judiciously combined with a change in
+Colour and Intensity:</p>
+
+<p class="center">
+<br />
+<img src="images/music29.png" width="464" height="90" alt="Quand il les flatte, j'en murmure!" title="Quand il les flatte, j'en murmure!" /></p>
+
+<p class="center">[<a href="music/music29.midi">Listen</a>]</p>
+
+<p><br />
+(Should be sung):</p>
+
+<p class="center">
+<br />
+<img src="images/music30.png" width="462" height="82" alt="Quand il les flatte, j'en murmure!" title="Quand il les flatte, j'en murmure!" /></p>
+
+<p class="center">[<a href="music/music30.midi">Listen</a>]</p>
+
+<p><span class="pagenum"><a name="Page_33" id="Page_33">[Pg&#160;33]</a></span></p>
+
+<p><br />
+It is the clashing of the Musical and Verbal phrasings that often
+makes translations of lyric works unsatisfactory. The two phrases are
+independent, not welded together. So far from being &#8220;Music wedded to
+immortal Verse,&#8221; these instances resemble those <i>m&#233;nages</i> wherein each
+unit leads a separate existence. When this is the case, the singer
+must decide as to whether the musical phrase, or the poetic phrase,
+demands the greater prominence.</p>
+
+<p>The following Phrasing and Colouring would be good and effective if
+the passage were played on an instrument:</p>
+
+<p class="center">
+<br />
+<img src="images/music31.png" width="507" height="74" alt="music" title="music" /></p>
+
+<p class="center">[<a href="music/music31.midi">Listen</a>]</p>
+
+<p><br />
+But if sung thus, as it sometimes is by careless artists who pay
+little attention to the verbal significance of what they are singing,
+it would sound absurd, because the poetic phrasing is entirely
+ignored. The correct way of performing the passage (from the aria &#8220;Voi
+che sapete,&#8221; in Act II of Mozart&#8217;s <i>Nozze di Figaro</i>) is the
+following:</p>
+
+<p class="center">
+<br />
+<img src="images/music32.png" width="507" height="89" alt="Donne, vedete, s'io l'ho nel cor" title="Donne, vedete, s'io l'ho nel cor" /></p>
+
+<p class="center">[<a href="music/music32.midi">Listen</a>]</p>
+
+<p><br />
+In the next extract (from Act IV in <i>Un Ballo in Maschera</i>, by Verdi),
+it will be noticed how oblivious the composer was of the claims of
+verbal phrasing. The<span class="pagenum"><a name="Page_34" id="Page_34">[Pg&#160;34]</a></span> whole <i>scena</i> is admirably written for the
+voice, and contains many graceful passages of great melodic charm. But
+although the music may claim to represent the character of the
+situation as a whole, it is disfigured by the complete disregard of
+the sense of certain groups of words:</p>
+
+<p class="center">
+<br />
+<img src="images/music33.png" width="512" height="394" alt="Come se fosse l'ultima ora del nostro amor" title="Come se fosse l'ultima ora del nostro amor" /></p>
+
+<p class="center">[<a href="music/music33.midi">Listen</a>]</p>
+
+<p><br />
+The words &#8220;<i>come se fosse l&#8217;ultima ora del nostro amor</i>,&#8221; constitute
+one phrase. It would be extremely difficult, impossible even, for
+many, to sing the passage in one breath. But the first musical phrase
+ends after the word &#8220;<i>ultima</i>;&#8221; to separate it from the next word,
+&#8220;<i>ora</i>&#8221; (second and third bars), thus: &#8220;last&#8212;hour,&#8221; is impracticable.
+It would be out of the question to destroy the musical phrase by
+breathing after the word<span class="pagenum"><a name="Page_35" id="Page_35">[Pg&#160;35]</a></span> &#8220;<i>ora</i>,&#8221; in the third bar. If the text is
+phrased when spoken as it is when sung, the incongruity is at once
+apparent. The published score gives a pause
+<img src="images/fermata.png" width="25" height="12" alt="fermata symbol" title="fermata symbol" /> after the
+word &#8220;<i>ora</i>:&#8221; &#8220;<i>ultima ora</i>
+<img src="images/fermata.png" width="25" height="12" alt="fermata symbol" title="fermata symbol" /> <i>del nostro amor</i>.&#8221; This
+phrasing is good and effective, especially if the artist changes at
+once to the sombre quality after the pause, and finishes the phrase
+<i>piano</i> and <i>rallentando</i>. One very often hears it, however, given
+with a pause for breathing after the high <i>a</i>; the unfortunate singer
+having prolonged the tone until, in order to continue, he is compelled
+to take in more air. The result is the absurd phrasing given below:</p>
+
+<p class="center">
+<br />
+<img src="images/music34.png" width="390" height="83" alt="l'ultima ora del nostro amor" title="l'ultima ora del nostro amor" /></p>
+
+<p class="center">[<a href="music/music34.midi">Listen</a>]</p>
+
+<p><br />
+In the final cadenza, the composer has cut out the word &#8220;ora&#8221;
+altogether. The whole air is of interest to the musical student, as it
+shows clearly the little value attached by Verdi, at that period of
+his career, to the exigencies of the verbal or poetic phrase. This
+neglect of the verbal punctuation is in marked contrast to the care he
+bestowed on it in his later works, witness <i>Aida</i>, <i>Otello</i>, and
+particularly <i>Falstaff</i>.</p>
+
+<p>Here I may say that it is sometimes necessary to alter the words on
+account of the impossibility of performing certain passages as
+written. In the earlier published scores of <i>Samson et Dalila</i>
+(Saint-Sa&#235;ns), the following passage in Act II, &#8220;Mon c&#339;ur s&#8217;ouvre &#224;
+ta voix,&#8221; as the composer wrote it, occurs as one phrase:<span class="pagenum"><a name="Page_36" id="Page_36">[Pg&#160;36]</a></span></p>
+
+<p class="center">
+<br />
+<img src="images/music35.png" width="508" height="94" alt="Ah! réponds à ma tendresse!" title="Ah! réponds à ma tendresse!" /></p>
+
+<p class="center">[<a href="music/music35.midi">Listen</a>]</p>
+
+<p><br />
+This being impracticable of execution in one phrase, and there being
+no opportunity of retaking breath until the close of the passage, it
+was altered in the later editions, and now stands thus:</p>
+
+<p class="center">
+<br />
+<img src="images/music36.png" width="510" height="83" alt="Ah! réponds à ma tendresse!" title="Ah! réponds à ma tendresse!" /></p>
+
+<p class="center">[<a href="music/music36.midi">Listen</a>]</p>
+
+<p><br />
+This device of repetition, applied either to a word or to part of a
+phrase, is perfectly justifiable in cases where the artist, for
+physical reasons, is unable to sing the phrase in one breath. I give
+an excerpt from Weber&#8217;s <i>Der Freisch&#252;tz</i> (Grand Air, Act II):</p>
+
+<p class="center">
+<br />
+<img src="images/music37.png" width="238" height="89" alt="Oh lovely night!" title="Oh lovely night!" /></p>
+
+<p class="center">[<a href="music/music37.midi">Listen</a>]</p>
+
+<p><br />
+This may be sung:</p>
+
+<p class="center">
+<br />
+<img src="images/music38.png" width="266" height="88" alt="Oh lovely, lovely night!" title="Oh lovely, lovely night!" /></p>
+
+<p class="center">[<a href="music/music38.midi">Listen</a>]</p>
+
+<p><br />
+The concluding bars of the waltz-song in Act I of Gounod&#8217;s <i>Rom&#233;o et
+Juliette</i>, are often phrased as indicated in the brackets, in order to
+give the singer a chance to take breath, which is done after the <i>c</i>
+natural:<span class="pagenum"><a name="Page_37" id="Page_37">[Pg&#160;37]</a></span></p>
+
+<p class="center">
+<br />
+<img src="images/music39.png" width="511" height="163" alt="Ah! comme un trésor" title="Ah! comme un trésor" /></p>
+
+<p class="center">[<a href="music/music39.midi">Listen</a>]</p>
+
+<p><br />
+As discrepancies between the musical and verbal phrases, such as those
+I have instanced, abound in certain of the old operas which still keep
+the stage and form a part of the permanent r&#233;pertoire of every lyric
+theatre, the artists singing them are compelled to choose between
+sacrificing the words or the music. The former alternative is
+generally preferable, the musical phrase in many such cases being of
+the greater relative importance. Another way is, to meet the
+difficulty boldly by supplying another text which mates itself more
+happily with the musical phrase. Personally, I adopt the latter
+alternative without hesitation, when preparing artists to sing these
+works.</p>
+
+<hr style="width: 45%;" />
+
+<p>Some minor effects utilized in Style in singing may be briefly alluded
+to: <i>Portamento</i>; variations of <i>Tempo</i>.</p>
+
+
+<h3><a name="PORTAMENTO"></a>PORTAMENTO</h3>
+
+<p><span class="dropcap">T</span><b>HIS</b> is effected by the voice gliding from one tone to another, and is
+equally available on stringed instruments, the violin or &#8217;cello, the
+mandoline or zither. It is a grace of style much abused by inartistic
+singers.<span class="pagenum"><a name="Page_38" id="Page_38">[Pg&#160;38]</a></span> Being an ornament, good taste dictates that it be used
+sparingly. A frequent sliding from one tone to another is a grave
+fault, and most disagreeable to a cultivated ear. To sing <i>legato</i> is
+one thing; to sing <i>strisciato</i> is another. Hence, its use on two
+consecutive occasions is rarely admissible. But without a sober and
+discreet use of the <i>portamento</i>, the style of the singer appears
+stiff, angular&#8212;lacking, as it were, in graceful curves.</p>
+
+<p>It must always be performed by carrying the tone and syllable to the
+next tone; never by anticipating the latter:</p>
+
+<p class="center">
+<br />
+<img src="images/music40.png" width="509" height="91" alt="Mozart (Nozze di Figaro)" title="Mozart (Nozze di Figaro)" /></p>
+
+<p class="center">[<a href="music/music40.midi">Listen</a>]</p>
+
+<p><br />
+But it sometimes happens that, while desiring this grace, the composer
+does not indicate his wish quite correctly. Here is an instance by F.
+Thom&#233;:</p>
+
+<p class="center">
+<br />
+<img src="images/music41.png" width="379" height="77" alt="Et nous dansions un boléro" title="Et nous dansions un boléro" /></p>
+
+<p class="center">[<a href="music/music41.midi">Listen</a>]</p>
+
+<p><br />
+Were it performed as printed, it would be very bad style, as it
+violates the rule that the succeeding syllable shall not be
+anticipated. Undoubtedly, what the author wished is the following:</p>
+
+<p class="center">
+<br />
+<img src="images/music42.png" width="261" height="75" alt="Et nous dansions" title="Et nous dansions" /></p>
+
+<p class="center">[<a href="music/music42.midi">Listen</a>]</p>
+
+<p><span class="pagenum"><a name="Page_39" id="Page_39">[Pg&#160;39]</a></span></p>
+
+<p><br />
+Sometimes the composer himself indicates clearly his intention that
+this effect should be used, as in the following examples:</p>
+
+<p class="center">
+<br />
+<img src="images/music43.png" width="512" height="95" alt="Reyer (La Statue)" title="Reyer (La Statue)" /></p>
+
+<p class="center">[<a href="music/music43.midi">Listen</a>]</p>
+
+<p class="center"><br />
+<img src="images/music44.png" width="512" height="116" alt="Celeste Aida (Aida: Act I) Verdi" title="Celeste Aida (Aida: Act I) Verdi" /></p>
+
+<p class="center">[<a href="music/music44.midi">Listen</a>]</p>
+
+<p class="center"><br />
+<img src="images/music45.png" width="520" height="448" alt="Song, Heure du Soir for Tenor, Léo Delibes" title="Song, Heure du Soir for Tenor, Léo Delibes" /></p>
+
+<p class="center">[<a href="music/music45.midi">Listen</a>]</p>
+
+<p><span class="pagenum"><a name="Page_40" id="Page_40">[Pg&#160;40]</a></span></p>
+
+<p class="center"><br />
+<img src="images/music46.png" width="511" height="109" alt="From La Bohème, Act I, Puccini" title="From La Bohème, Act I, Puccini" /></p>
+
+<p class="center">[<a href="music/music46.midi">Listen</a>]</p>
+
+<p><br />
+(Notice the phrases marked <i>a</i> and <i>b</i>.)</p>
+
+<p>The words and indications for the use of the <i>portamento</i> in each of
+these last four examples are by the respective composers, and as
+printed in the published editions.</p>
+
+<p>A <i>portamento</i> should never be sung so slowly as to convey the idea of
+a badly executed chromatic scale; and, as a rule, it is best not to
+use one between any lesser interval than a third, unless for some
+particular effect, or at the close of a slow movement, as in the aria
+&#8220;He was despis&#232;d,&#8221; in <i>The Messiah</i>:</p>
+
+<p class="center">
+<br />
+<img src="images/music47.png" width="294" height="78" alt="and acquainted with grief" title="and acquainted with grief" /></p>
+
+<p class="center">[<a href="music/music47.midi">Listen</a>]</p>
+
+<p><br />
+It is also effective in connecting syllables in phrases of a smooth,
+lyric character:</p>
+
+<p class="center">
+<br />
+<img src="images/music48.png" width="428" height="165" alt="Nozze di Figaro: Act II, Mozart" title="Nozze di Figaro: Act II, Mozart" /></p>
+
+<p class="center">[<a href="music/music48.midi">Listen</a>]</p>
+
+<p><span class="pagenum"><a name="Page_41" id="Page_41">[Pg&#160;41]</a></span></p>
+
+<p><br />
+The <i>portamento</i> being an embellishment that pertains to the
+<i>cantabile</i>, it is very little used in declamatory singing.</p>
+
+<p>But frequently in the Recitatives of classic works occur phrases of
+declamatory recitative, interspersed with passages that are purely
+lyric in structure. To each of these divisions must be given its
+appropriate style. For instance, after the opening phrases of
+Obadiah&#8217;s exhortation, &#8220;Ye people, rend your hearts,&#8221; in <i>Elijah</i>, up
+to the end of the phrase &#8220;Return to God,&#8221; all is purely lyric
+declamation. But at the words, &#8220;For He is slow to anger, and
+merciful,&#8221; this should cease, and the succeeding phrases be given with
+all the graces that are permissible in <i>cantabile</i> singing; not in the
+hard, dry manner affected by some of the modern tenors in oratorio.</p>
+
+<p class="center">
+<br />
+<img src="images/music49.png" width="509" height="143" alt="I therefore say to ye, Forsake your idols, return to God; for
+He is slow to anger, and merciful" title="I therefore say to ye, Forsake your idols, return to God; for
+He is slow to anger, and merciful" /></p>
+
+<p class="center">[<a href="music/music49.midi">Listen</a>]</p>
+
+<hr style="width: 45%;" />
+
+<h3><a name="VARIATIONS"></a>VARIATIONS OF TEMPO</h3>
+
+<p><span class="dropcap">T</span><b>HESE</b> are of value in bringing out the musical and poetic significance
+of certain compositions; notably the operas of Bellini, Donizetti, and
+the earlier works of Verdi. But I would caution singers to exercise
+dis<span class="pagenum"><a name="Page_42" id="Page_42">[Pg&#160;42]</a></span>cretion in this much-abused effect. Variations of Tempo, the
+<i>ritardando</i>, <i>accelerando</i>, and <i>tempo rubato</i>, are all legitimate
+aids demanded by Expression. But unless their use is determined by
+sound judgment and correct musicianly taste, the effect speedily
+becomes vulgar and monotonous. Knowledge, and a taste formed in good
+schools, must be the guide of the vocalist in the use of variations of
+tempo.</p>
+
+<p>I have said that the operas of Bellini, Donizetti and Verdi abound in
+instances requiring the hastening or slackening of the tempo. But the
+device is also highly esteemed by the ultra-modern Italian school, as
+may be seen in studying the scores of Puccini, Mascagni and
+Leoncavallo.</p>
+
+<p>Here is an illustration of its effective use in the air &#8220;Connais-tu le
+pays?&#8221; from <i>Mignon</i> (Act II), by Ambroise Thomas. Madame Christine
+Nilsson (Countess Casa Miranda), who &#8220;passed&#8221; the r&#244;le with the
+composer, always sang the phrase thus, although these indications do
+not appear in the published version:</p>
+
+<p class="center">
+<br />
+<img src="images/music50.png" width="506" height="148" alt="Hélas! que ne puis-je te suivre, vers ce rivage heureux, d'où
+le sort m'exila!" title="Hélas! que ne puis-je te suivre, vers ce rivage heureux, d'où
+le sort m'exila!" /></p>
+
+<p class="center">[<a href="music/music50.midi">Listen</a>]</p>
+
+<p><br />
+Again, in the fine song <i>Der Asra</i>, by Rubinstein, the musical, as
+well as the dramatic, effect of the poem is heightened by the use of
+the <i>accelerando</i>, which interprets<span class="pagenum"><a name="Page_43" id="Page_43">[Pg&#160;43]</a></span> with musical vividness the
+impetuous avowal by the slave of his passion for the princess, after
+his calm answer to her questions as to his name and birthplace.</p>
+
+<p>&#8220;<i>Ich heisse Mahomet, ich bin aus Yemen, und mein Stamm sind jene
+Asra, welche sterben, wenn sie lieben.</i>&#8221; (<span class="smcap">Heine.</span>)</p>
+
+<p class="center">
+<br />
+<img src="images/music51.png" width="508" height="156" alt="und mein Stamm sind jene Asra, welche sterben, wenn sie lieben" title="und mein Stamm sind jene Asra, welche sterben, wenn sie lieben" /></p>
+
+<p class="center">[<a href="music/music51.midi">Listen</a>]</p>
+
+
+
+<hr style="width: 65%;" />
+<p><span class="pagenum"><a name="Page_44" id="Page_44">[Pg&#160;44]</a></span></p>
+<h2><a name="CHAPTER_IV" id="CHAPTER_IV"></a>CHAPTER IV<br />
+<br />
+<span class="smcap">Tradition</span><br /><br /></h2>
+
+
+<p><span class="dropcap">T</span><b>RADITION</b> plays a more important part, perhaps, in the interpretation
+of the classic composers&#8217; writings for the voice than it does in their
+purely instrumental works. The old masters left few&#8212;sometimes not
+any&#8212;indications as to the manner in which their music should be
+rendered. Thus its proper performance is largely determined by
+received oral tradition. The printed scores of the classics, except
+those that have been specially edited, throw little light on their
+proper interpretation, or even at times on the actual notes to be
+sung. To perform exactly as written the operas of Gluck, notably
+<i>Armide</i> and <i>Orph&#233;e</i>, the operas of Mozart, the Italian operas and
+English oratorios of Handel, the oratorios of Bach, Haydn, and
+Mendelssohn, would be to do the greatest injustice to these composers
+and their works.</p>
+
+<p>It is a prevalent idea that all departures from the published text are
+due either to caprice, or to vanity and a desire for personal display
+on the part of the soloist. As though singers had a monopoly of these
+defects!</p>
+
+<p>Let us consider some of the principal causes of such changes in the
+text, and the reasons why these modifications do not always appear in
+the published versions.</p>
+
+<p>In the original editions of many of the earlier operas, as those of
+Mozart, etc., the unaccompanied recitative<span class="pagenum"><a name="Page_45" id="Page_45">[Pg&#160;45]</a></span> (<i>recitativo secco</i>) is
+not barred. As with the plain-chant of the church, only the <i>pitch</i> of
+the tone is indicated. Its <i>length</i> was left to the discretion of the
+artist, who was supposed to be familiar with the accepted style of
+delivery termed &#8220;<i>recitativo parlante</i>.&#8221; The example is from the
+recitative &#8220;Dove sono,&#8221; in Act III of <i>Le Nozze di Figaro</i>, by Mozart:</p>
+
+<p class="center">
+<br />
+<img src="images/music52.png" width="509" height="72" alt="E Susanna non vien! Sono ansiosa di saper" title="E Susanna non vien! Sono ansiosa di saper" /></p>
+
+<p class="center">[<a href="music/music52.midi">Listen</a>]</p>
+
+<p><br />
+This should be sung as below:</p>
+
+<p class="center">
+<br />
+<img src="images/music53.png" width="508" height="74" alt="E Susanna non vien! Sono ansiosa di saper" title="E Susanna non vien! Sono ansiosa di saper" /></p>
+
+<p class="center">[<a href="music/music53.midi">Listen</a>]</p>
+
+<p><br />
+The substitution of another note for the one actually written, both in
+Recitative and Aria, was also strictly regulated under the system or
+convention then in vogue, one perfectly understood both by composer
+and singer.</p>
+
+<p>In all the earlier Italian operas, and in the English oratorios of
+Handel, this system was followed:</p>
+
+<p class="center">
+<br />
+<img src="images/music54.png" width="486" height="196" alt="Recit. Behold, a Virgin shall conceive, Messiah, Handel" title="Recit. Behold, a Virgin shall conceive, Messiah, Handel" /></p>
+
+<p class="center">[<a href="music/music54.midi">Listen</a>]</p>
+
+<p><span class="pagenum"><a name="Page_46" id="Page_46">[Pg&#160;46]</a></span></p>
+
+<p class="center"><br />
+<img src="images/music55.png" width="510" height="170" alt="Aria. I know that my Redeemer liveth, Messiah, Handel" title="Aria. I know that my Redeemer liveth, Messiah, Handel" /></p>
+
+<p class="center">[<a href="music/music55.midi">Listen</a>]</p>
+
+<p class="center"><br />
+<img src="images/music56.png" width="511" height="180" alt="Recit. Non più di fiori, La Clemenza di Tito, Mozart" title="Recit. Non più di fiori, La Clemenza di Tito, Mozart" /></p>
+
+<p class="center">[<a href="music/music56.midi">Listen</a>]</p>
+
+<p class="center"><br />
+<img src="images/music57.png" width="409" height="184" alt="In questa tomba, Beethoven" title="In questa tomba, Beethoven" /></p>
+
+<p class="center">[<a href="music/music57.midi">Listen</a>]</p>
+
+<p><br />
+This substitution, therefore, of another note&#8212;a tone or semitone
+higher or lower, according to the phrase&#8212;is not only legitimate but
+essential in all music written in the Italian manner.</p>
+
+<p>Another cause of changes being necessary in the vocal part of many of
+the older classic writers, particularly of oratorio, is the frequently
+faulty syllabic accentuation. I have already mentioned this defect in
+the chapter on <a href="#ACCENT">Accent</a>. Handel, for instance, although living nearly
+all his life in England, never became quite<span class="pagenum"><a name="Page_47" id="Page_47">[Pg&#160;47]</a></span> master of its language;
+hence the numerous cases of the misplacing of syllables in his
+oratorios. This defect is also noticeable, but not in the same degree,
+in his Italian operas. The books of <i>Elijah</i> and <i>St. Paul</i>
+(Mendelssohn), and <i>The Creation</i> (Haydn), were originally written in
+German, and therefore suffer somewhat in this respect when the
+translated English version is given. This fault is also noticeable in
+the English versions of Bach&#8217;s <i>Passion</i> (St. Matthew), and
+Mendelssohn&#8217;s <i>Psalm CXIV</i>. In the first quoted of these two works, in
+the response for Double Chorus to the question, &#8220;Whether of the twain
+will ye that I release unto you?&#8221; the accent falls on the first
+syllable &#8220;<i>Ba</i>-rab-bas&#8221;; in the second of the two works (<i>114th
+Psalm</i>), the accent is placed on the last syllable, thus:
+&#8220;Hal-le-lu-<i>jah</i>.&#8221; Neither of these accentuations is in accordance
+with English custom.</p>
+
+<p>A singer, therefore, is perfectly justified in rearranging the
+syllables in order that, as far as possible, the musical and verbal
+accents shall coincide. But there are rigorists, unaware of the usages
+and conventions previously spoken of, who are very severe in their
+judgment when any deviation is made from the printed score with which
+they follow the performance of classic works. Such severity is
+unmerited, because unjust. Although such persons sometimes inveigh
+against any and every change from the strict letter of the printed
+music&#8212;ignorant of the possibility, that only in this way can its
+spirit be respected&#8212;the changes in a multitude of cases are essential
+because due (1) to reverential deci<span class="pagenum"><a name="Page_48" id="Page_48">[Pg&#160;48]</a></span>phering of an obsolete musical
+notation, (2) to improvements in musical instruments, or (3) to the
+sanction and authority of the composer himself.</p>
+
+<p>Sometimes it is an orchestral conductor who reproaches the solo
+singers with their want of respect for the composer, because he hears
+at times interpolations or changes which find no place in his own
+score. The singers are accused of &#8220;altering the composer,&#8221; of &#8220;taking
+liberties with the text.&#8221; And yet these very changes may be
+traditionally correct; they may be in accordance with rules and
+conditions prevalent at the time the music was written, and employed
+on account of a desire to interpret the composer&#8217;s own intentions, and
+not from mere vanity or caprice.</p>
+
+<p>Nor are these necessary changes and departures from the printed scores
+of the classics confined to the vocal parts of the music composed by
+the old masters. As a matter of fact, the deviations which, in
+performance, are sometimes made from the printed edition of a musical
+composition, arise from a variety of causes.</p>
+
+<p>One of these is the discrepancy that exists between various editions
+of the same work; and sometimes the confusion is complicated by
+different versions having been prepared by the composer himself. This
+is notably the case with Gluck&#8217;s <i>Orph&#233;e</i>, first written to an Italian
+libretto by Calzabigi and produced at Vienna. When Marie Antoinette
+called her former Viennese singing-master, Gluck, to Paris, she gave
+him an opportunity of displaying his genius by facilitating the
+production of his <i>Iphig&#233;nie en Aulide</i> at the Op&#233;ra, in 1774. Its<span class="pagenum"><a name="Page_49" id="Page_49">[Pg&#160;49]</a></span>
+enthusiastic reception recalled to the composer the like success which
+had attended the production of his <i>Orfeo</i> at Vienna. He immediately
+set to work to revise it for the Paris Op&#233;ra, and fit it to a new
+French text, the latter supplied him by Moline.<a name="FNanchor_2_2" id="FNanchor_2_2"></a><a href="#Footnote_2_2" class="fnanchor">[2]</a></p>
+
+<p>But the title-r&#244;le in the original Italian version was written for,
+and sung by, Guadagni, an artificial contralto (<i>contralto musico</i>).
+In its newer French dress the part was transposed and rearranged for
+the tenor Legros; who, judging from the extreme altitude of the
+<i>tessitura</i> employed, must have possessed either a <i>haute-contre</i>, or
+a very high light-tenor voice, and who may have employed the falsetto.
+This high <i>tessitura</i>, combined with the fact that the pitch has risen
+considerably since it was composed, renders the French version
+impracticable for tenors of the present day. Here are the concluding
+bars of the famous air as written in the original Italian version, and
+the same phrase as altered by Gluck, when produced in Paris.</p>
+
+<p class="center">
+<br />
+<img src="images/music58.png" width="515" height="185" alt="Che farò senz' Euridice?" title="Che farò senz' Euridice?" /></p>
+
+<p class="center">(As originally written by Gluck for the Italian version, Vienna.)</p>
+
+<p class="center">[<a href="music/music58.midi">Listen</a>]</p>
+
+<p><span class="pagenum"><a name="Page_50" id="Page_50">[Pg&#160;50]</a></span></p>
+
+<p class="center">
+<br />
+<img src="images/music59.png" width="515" height="179" alt="J'ai perdu mon Eurydice" title="J'ai perdu mon Eurydice" /></p>
+
+<div class="blockquot">
+<p>(As altered by Gluck for Paris; sung by the tenor Legros. From a manuscript
+copy, Bibliothèque de l&#8217;Opéra.)</p>
+
+<p class="center">[<a href="music/music59.midi">Listen</a>]</p>
+
+</div>
+
+<p class="center">
+<br />
+<img src="images/music60.png" width="518" height="172" alt="J'ai perdu mon Eurydice" title="J'ai perdu mon Eurydice" /></p>
+
+<div class="blockquot">
+<p>(As sung by Mme. Viardot-Garcia, Théâtre-Lyrique, Paris; the part being
+restored to the original voice and key, but the change at the end, made for
+Legros, retained.)</p>
+
+<p class="center">[<a href="music/music60.midi">Listen</a>]</p>
+
+</div>
+
+<p><br />
+The finale to the first act was also changed; a tumultuous &#8220;hurry&#8221; for
+strings, evidently designed to accompany the change of scene to Hades,
+being now replaced by a florid air, probably introduced at the desire
+of the principal singer as a medium for the display of his vocal
+virtuosity; a concession often exacted from composers of opera. This
+interpolated air was for a long time attributed to a
+composer&#8212;Bertoni&#8212;who had himself composed an opera on the subject of
+<i>Orph&#233;e</i>. Later researches have, however, proved that this air<span class="pagenum"><a name="Page_51" id="Page_51">[Pg&#160;51]</a></span> is by
+Gluck himself, taken from <i>Aristeo</i>, one of his earlier works. When
+the famous revival of <i>Orph&#233;e</i> took place at the old Th&#233;&#226;tre-Lyrique
+in Paris, the r&#244;le of Orph&#233;e was restored to the type of
+voice&#8212;contralto&#8212;for which it was originally composed, and confided
+to Mme. Pauline Viardot-Garcia. She retained the air introduced for
+the tenor Legros, but of course transposed, and with a reorchestration
+by Camille Saint-Sa&#235;ns; the now famous composer having at that time,
+by the request of Berlioz, undertaken to continue and complete the
+revision of Gluck&#8217;s complete works, known as the Pelletan Edition.<a name="FNanchor_3_3" id="FNanchor_3_3"></a><a href="#Footnote_3_3" class="fnanchor">[3]</a></p>
+
+<p>Other changes from the first Italian score were also made by Gluck in
+the later French version. Here is an example; being the recitative
+immediately preceding the great air of Orpheus in the last act:</p>
+
+<p class="center">
+<br />
+<img src="images/music61.png" width="506" height="309" alt="Misero me! la perdo" title="Misero me! la perdo" /></p>
+
+<p><span class="pagenum"><a name="Page_52" id="Page_52">[Pg&#160;52]</a></span></p>
+
+<p class="center">
+<img src="images/music62.png" width="509" height="150" alt="" /></p>
+
+<p class="center">(Original Italian version, as written for Vienna.)</p>
+
+<p class="center">[<a href="music/music61.midi">Listen</a>]</p>
+
+<p class="center"><br />
+<img src="images/music63.png" width="506" height="318" alt="C'est moi, c'est moi, qui lui ravis la jour" title="C'est moi, c'est moi, qui lui ravis la jour" /></p>
+
+<p class="center">(As written for the Paris version, the rôle of Orphée being then sung by a
+tenor.)</p>
+
+<p class="center">[<a href="music/music63.midi">Listen</a>]</p>
+
+<p class="center"><br />
+<img src="images/music64.png" width="509" height="317" alt="C'est moi, c'est moi, qui lui ravis la jour" title="C'est moi, c'est moi, qui lui ravis la jour" /></p>
+
+<div class="blockquot">
+<p>(As sung by Mme. Viardot-Garcia, the r&#244;le being then restored to the
+contralto voice as in the Italian version, while the changes made by
+Gluck for the Paris version were retained. This is now definitively
+adopted at the Op&#233;ra-Comique.)</p>
+
+<p class="center">[<a href="music/music64.midi">Listen</a>]</p>
+
+</div>
+
+<p><span class="pagenum"><a name="Page_53" id="Page_53">[Pg&#160;53]</a></span></p>
+
+<p><br />
+Again, discrepancies exist between various published copies of the
+same work, arising from the fact that sometimes the editors of these
+revisions may have mistaken the intentions of the composer. Or,
+influenced by pardonable human vanity, they may have felt impelled to
+collaborate more directly with the composer, by adding something of
+their own.</p>
+
+<p>There is valid reason for the additional accompaniments, with which
+Mozart has enriched the original scores of Handel&#8217;s <i>Messiah</i> and
+<i>Alexander&#8217;s Feast</i>; and we have evidence of the skill, and can divine
+the reverence, with which these additions were accomplished. But how
+fatal would have been the results, had the delicate task been
+attempted by one in whom these qualities were lacking! Also, there is
+every excuse for the additions made to Gluck&#8217;s <i>Armide</i> by Meyerbeer
+for the Opera of Berlin; and we have the direct testimony of
+Saint-Sa&#235;ns, who has examined this rescoring, as to the rare ability
+and artistic discretion with which the work has been done.<a name="FNanchor_4_4" id="FNanchor_4_4"></a><a href="#Footnote_4_4" class="fnanchor">[4]</a></p>
+
+<p>From this evidence it appears that in the score as left by Gluck, the
+trombones do not appear at all in <i>Armide</i>. The drums, and stranger
+still, the flutes, are heard only at rare intervals; while the whole
+orchestration&#8212;sometimes a pale sketch of the composer&#8217;s
+intentions&#8212;shows a haste and lack of care in marked contrast with the
+pains bestowed on the scoring of <i>Alceste</i>, <i>Iphig&#233;nie</i>, and <i>Orph&#233;e</i>.
+The revisions and additions spoken of were undertaken by highly
+competent author<span class="pagenum"><a name="Page_54" id="Page_54">[Pg&#160;54]</a></span>ities, actuated only by the wish to restore in its
+purity the idea of the composer; and who to zeal, added the more
+valuable quality of discretion.</p>
+
+<p>Ancient music, owing to the development of and changes in the
+instruments for which it was composed, can rarely be given as written
+by the author. Even if the instruments of modern invention be
+eliminated, the orchestra of to-day is not the orchestra of Handel.
+The oboe, for example, has so gained in penetrating power that one
+instrument to each part now suffices; in Handel&#8217;s time the feeble tone
+of the oboe rendered a considerable number necessary. The perfection
+of certain instruments, too, is the cause of modifications in the
+music written for them. The limited compass of the pianoforte, for
+example, was certainly the sole reason why Beethoven failed to
+continue in octaves the entire ascending scale in one of his sonatas.
+Had the piano in his day possessed its present compass, he would
+undoubtedly have written the passage throughout in octaves, <i>i.e.</i>, as
+modern pianists play it. If a rigid adherence to the printed letter of
+ancient music is to be strictly observed, without consideration of the
+many causes that render this procedure undesirable, let consistency be
+observed by pushing the argument to its logical conclusion, <i>viz.</i>,
+returning to the instruments used, and the composition of the
+orchestra that obtained, when these works were written. Those who
+accuse artists of introducing changes, of not performing the music as
+the composer wrote it, should be quite sure as to what the composer
+really did write, since many<span class="pagenum"><a name="Page_55" id="Page_55">[Pg&#160;55]</a></span> changes are made both before and after
+the work is printed. They should also be certain that these changes
+are not such as the composer may have, or would have, sanctioned,
+seeing that by their use his meaning is more clearly expressed.</p>
+
+<p>At the <i>Concerts Spirituels</i>, given at the Church of the Sorbonne,
+Paris, may be heard very excellent performances of Oratorio by ancient
+and modern composers, from Handel and Bach to Claude Debussy; though I
+do not know whether or no <i>l&#8217;Enfant prodigue</i> (The Prodigal Son), by
+Debussy, is properly styled an oratorio, seeing that it was recently
+given in London on the stage as an opera. These performances at the
+Sorbonne are marked by a reverential attention to detail; the
+soloists, chorus and orchestra being very competent, and the
+conductor&#8212;M. Paul de Sauni&#232;res&#8212;a musician of ability and experience.
+In spite of these great advantages, however, the works of several of
+the old classic composers suffer somewhat, by certain authentic
+traditions and conventions being either unknown or ignored. To cite
+only one instance out of many: At the Sorbonne, the opening bars of
+the second movement of the Recit. in <i>The Messiah</i>, &#8220;Comfort ye my
+people,&#8221; etc., are performed as printed:</p>
+
+<p class="center">
+<br />
+<img src="images/music65.png" width="527" height="192" alt="The voice of him that crieth in the wilderness" title="The voice of him that crieth in the wilderness" /></p>
+
+<p class="center">[<a href="music/music65.midi">Listen</a>]</p>
+
+<p><span class="pagenum"><a name="Page_56" id="Page_56">[Pg&#160;56]</a></span></p>
+
+<p><br />
+This music is written in the Italian &#8220;manner,&#8221; consequently its
+performance should be in conformity with the usages and conventions
+which obtained when the work was composed. One of these, as I have
+pointed out, was the substitution of one note for another in certain
+places; another, that in declamatory recitative, or <i>recitativo
+parlante</i>, the chord in the orchestra should come <i>after</i> the voice
+(&#8220;<i>dopo la parola</i>&#8221;). These words appear in many scores of the Italian
+operas, even of the present day. But when they do not, the musical
+director is supposed to be familiar with the custom. The following,
+therefore, is the authentic mode of performing the passage in
+question:</p>
+
+<p class="center">
+<br />
+<img src="images/music66.png" width="521" height="199" alt="The voice of him that crieth in the wilderness" title="The voice of him that crieth in the wilderness" /></p>
+
+<p class="center">[<a href="music/music66.midi">Listen</a>]</p>
+
+<p><br />
+Apart from these defects in the rendering of the ancient classics, it
+would be unjust not to acknowledge the great artistic merit and value
+of the performances, given&#8212;as Oratorio should be&#8212;in the church. To
+hear <i>l&#8217;Enfance du Christ</i> (Berlioz) as performed at the Sorbonne,
+with its particular facilities for obtaining the <i>ppp</i> effects of the
+distant or receding angelic chorus, is<span class="pagenum"><a name="Page_57" id="Page_57">[Pg&#160;57]</a></span> to be impressed to a degree
+impossible of attainment in the concert-room.</p>
+
+<p>Let those purists who resent any &#8220;tampering&#8221;&#8212;as they term it&#8212;with
+the composers&#8217; music listen to the following phrase, sung as it is
+printed in the ordinary editions:</p>
+
+<p class="center">
+<br />
+<img src="images/music67.png" width="509" height="80" alt="the first-fruits of them that sleep" title="the first-fruits of them that sleep" /></p>
+
+<p class="center">[<a href="music/music67.midi">Listen</a>]</p>
+
+<p><br />
+Then let them hear it given according to the authentic and accepted
+tradition, and say which of the two versions most faithfully
+interprets the composer&#8217;s meaning.</p>
+
+<p class="center">
+<br />
+<img src="images/music68.png" width="507" height="83" alt="the first-fruits of them that sleep" title="the first-fruits of them that sleep" /></p>
+
+<p class="center">[<a href="music/music68.midi">Listen</a>]</p>
+
+<hr style="width: 45%;" />
+
+<p>Let us now consider alterations which do not appear in the printed
+editions, and yet may have been made or sanctioned by the composer.</p>
+
+<p>In comparison with painting and sculpture, music and the literature of
+the theatre are not self-sufficing arts. They require an interpreter.
+Before a dramatic work can exist completely, scenery, and actors to
+give it voice and gesture, are necessary; before music can be anything
+more than hieroglyphics, the signs must be transmuted<span class="pagenum"><a name="Page_58" id="Page_58">[Pg&#160;58]</a></span> into sound by
+singers or instrumentalists. Wagner embodied this truth in his
+pathetic reference to <i>Lohengrin</i>: &#8220;When ill, miserable and
+despairing, I sat brooding over my fate, my eye fell on the score of
+my <i>Lohengrin</i>, which I had totally forgotten. Suddenly I felt
+something like compassion lest the music might never sound from off
+the death-pale paper.&#8221; In other words, <i>Lohengrin</i>, though finished in
+every detail, was merely potential music. To make it anything more,
+the aid of singers and orchestra are essential.</p>
+
+<p>Composers and dramatic authors, in fact, <i>create</i> their art-works; but
+it is their interpreters&#8212;actors, singers, instrumentalists&#8212;who
+<i>animate</i> them, who breathe life into them. One of the inevitable
+consequences is, that the composer&#8217;s ideal can never be fully
+attained.</p>
+
+<p>But changes in performance from the printed text of a composition are
+frequently the work of the composer himself. If really an artist, he
+is rarely perfectly satisfied with his completed work. The difference
+between his ideal and his materialization of it, is a source of
+anguish for him. The journey made by a vision of art from the brain
+that conceives it to the hand that imprisons it in marble, or depicts
+it in colour, or pens it in words or music, is a long one. And much
+grace or power, beauty or grandeur, is inevitably lost on the way.
+This is the explanation of the disappointment of all true artists with
+their creations. This is the origin of their endless strivings to
+perfect their works; the first embodiment is not a perfect
+interpretation of the artist&#8217;s inspiration, and further reflection<span class="pagenum"><a name="Page_59" id="Page_59">[Pg&#160;59]</a></span>
+has revealed to him an improvement. The process is endless.</p>
+
+<div class="blockquot">
+<p>
+<span style="margin-left: 2em;"><i>A man&#8217;s reach should exceed his grasp,</i></span><br />
+<span style="margin-left: 4em;"><i>Or what is Heaven for?</i></span><br />
+</p>
+</div>
+
+<p>If one wishes to surprise genius labouring to give birth to
+perfection, one should consult the later editions of Victor Hugo&#8217;s
+works and note the countless emendations he made after their first
+publication&#8212;here a more fitting word substituted, there a line
+recast, elsewhere an entire verse added, or excised, or remodelled.</p>
+
+<p>This work of incessant revision is not restricted to poets. Composers
+of genius are also inveterate strivers after perfection, are
+continually occupied in polishing and revising their music. And not
+all the modifications they make, or sanction, are recorded in the
+printed versions. For many are the outcome of after-thoughts, of ideas
+suggested during the process of what I have called transmuting musical
+hieroglyphics into sound. Such modifications, usually decided upon in
+the course of a rehearsal&#8212;I am now considering particularly operatic
+works&#8212;are frequently jotted down, a mere scanty memorandum, on the
+singer&#8217;s part or the conductor&#8217;s score. But they are the work of the
+composer, or have received his approval, and, although not noted in
+the printed editions of his compositions, are transmitted orally from
+conductor to conductor, singer to singer, master to pupil. And thus a
+tradition is perpetuated.</p>
+
+<p>But the question of changes goes even further.</p>
+
+<p>Prior to the advent of Wagner, the singer was allowed<span class="pagenum"><a name="Page_60" id="Page_60">[Pg&#160;60]</a></span> great license
+in operatic works. This license was principally manifested in a
+two-fold form. The first is called <i>pointage</i> (French), <i>puntatura</i>
+(Italian), and means the changing of the notes or contour of a musical
+phrase; the second is termed <i>changements</i> or <i>variantes</i> (Fr.),
+<i>abbellimenti</i> or <i>fioriture</i> (It.), and refers to the interpolation
+and addition of ornaments, <i>i.e.</i>, embellishments and cadenzas.</p>
+
+<hr style="width: 45%;" />
+
+<p><span class="pagenum"><a name="Page_61" id="Page_61">[Pg&#160;61]</a></span></p>
+
+<h3><a name="POINTAGE"></a>POINTAGE</h3>
+
+<p><span class="dropcap">T</span><b>HIS</b>, as I have said, is the technical term given to the modification
+or rearrangement of the notes of a phrase, so as to bring it within
+the natural capabilities of the artist singing the r&#244;le. A few
+illustrations will make the nature of <i>pointage</i> clear.</p>
+
+<p>In Rossini&#8217;s <i>Guillaume Tell</i>, although it is written in a different
+style from his former works, whence less necessity for interpolations
+and modifications, occurs the following terrible passage for the
+principal baritone:</p>
+
+<p class="center">
+<br />
+<img src="images/music69.png" width="506" height="93" alt="Mais je connais le poids des fers" title="Mais je connais le poids des fers" /></p>
+
+<p class="center">[<a href="music/music69.midi">Listen</a>]</p>
+
+<p><br />
+Every vocalist knows the difficulty experienced in singing very high
+tones to different syllables, each requiring a different conformation
+of the buccal cavity. The passage quoted&#8212;expressing Tell&#8217;s bitterness
+at the recollection of his past sufferings in prison, &#8220;Well I know the
+weight of galling chain&#8221;&#8212;has to be declaimed with great energy. So
+far as the relative value of the notes is concerned, it is entirely
+<i>ad libitum</i>, the rhythmical figure in the orchestra having ceased one
+half-bar before. It is said that Dabadie, a <i>basso cantante</i> rather
+than baritone, to whom was entrusted the r&#244;le of Tell on the first
+production of the work at the Op&#233;ra, Paris, on August 3, 1829, finding
+it impossible to sing the phrase as written, had recourse to a
+professor. He advised the <i>pointage</i> given later. This change became
+traditional,<span class="pagenum"><a name="Page_62" id="Page_62">[Pg&#160;62]</a></span> and has since been followed, except, it is said, in the
+case of Massol, who succeeded Dabadie. He, being possessed of a very
+sonorous voice of exceptional compass, was able to give the phrase as
+written. This change, or <i>pointage</i>, must have been heard by Rossini,
+and so must have been tacitly approved by him. This is the change made
+by Dabadie:</p>
+
+<p class="center">
+<br />
+<img src="images/music70.png" width="507" height="95" alt="Mais je connais le poids des fers" title="Mais je connais le poids des fers" /></p>
+
+<p class="center">[<a href="music/music70.midi">Listen</a>]</p>
+
+<p><br />
+In Italian lyric theatres, <i>pointage</i> becomes necessary in many French
+operas, owing to the prevalent custom of allotting to contraltos
+certain r&#244;les written for soprano and known as &#8220;dugazon r&#244;les&#8221; (from
+Madame Dugazon, who created the type). The parts of Siebel in <i>Faust</i>
+(Gounod), Urbain in <i>Les Huguenots</i>, St&#233;phane in <i>Rom&#233;o et Juliette</i>
+(Gounod), are all written for soprano, and when sung in Italian
+require not only transposition of the principal airs, but the use of
+<i>pointage</i> in passages where transposition is impossible owing, for
+instance, to the participation of other characters in the scene. Thus
+the air sung by the page Urbain (<i>Les Huguenots</i>) on his entrance is
+sung in the French theatres as written by Meyerbeer, <i>i.e.</i>, in <i>B</i>
+flat. In theatres where the Italian version is given, this air is
+transposed a third lower into <i>G</i>, necessitating later numerous
+<i>pointages</i>, for the reason already given.</p>
+
+<p>I said that many deviations from the printed text are the work of the
+author, or are authorized by him. A<span class="pagenum"><a name="Page_63" id="Page_63">[Pg&#160;63]</a></span> moment&#8217;s reflection will convince
+one of the truth of this statement. The singer chosen&#8212;usually by the
+composer himself&#8212;to &#8220;create&#8221; a r&#244;le, <i>i.e.</i>, to interpret for the
+first time some part in a new opera, generally studies it with the
+composer, or under his direct supervision, and thus learns, directly
+or indirectly, his ideas as to the meaning, style of execution, tempi,
+etc., of the music. Very often during rehearsals, when the composer
+begins really to hear his own work, he makes modifications in certain
+passages, alterations of the words or suppressions of the notes that
+are either ineffective, or lie awkwardly for the voice. But the opera
+has already been printed for the convenience of the singers and
+choristers studying the r&#244;les and choruses; consequently, such
+modifications, rearrangements, and &#8220;cuts&#8221; (as excisions are termed),
+do not find their way into the published scores.</p>
+
+<p>Meyerbeer, as I have been informed by competent authorities, was
+constantly modifying his compositions. With him, the work of revision
+and emendation was never finished. It is said that this was more
+especially the case with his last opera, <i>l&#8217;Africaine</i>, which he was
+continually altering and revising, never being able to satisfy
+himself. Two versions of the libretto were prepared for him by Scribe,
+and two distinct settings of the music are published, although only
+one is performed.<a name="FNanchor_5_5" id="FNanchor_5_5"></a><a href="#Footnote_5_5" class="fnanchor">[5]</a></p>
+<p><span class="pagenum"><a name="Page_64" id="Page_64">[Pg&#160;64]</a></span></p>
+<p>In Nelusko&#8217;s first air occurs the following passage, in which a great
+<i>crescendo</i> is marked, culminating <i>ff</i> on the word <i>rien</i>:</p>
+
+<p class="center">
+<br />
+<img src="images/music71.png" width="504" height="93" alt="non, n'ôtent rien à ta majesté!" title="non, n'ôtent rien à ta majesté!" /></p>
+
+<p class="center">[<a href="music/music71.midi">Listen</a>]</p>
+
+<p><br />
+Although the opera was produced after the composer&#8217;s death,
+Jean-Baptiste Faure, the great baritone chosen to create the r&#244;le of
+Nelusko, studied it with Meyerbeer, who authorized several verbal and
+musical changes in it.</p>
+
+<p class="center">
+<br />
+<img src="images/music72.png" width="505" height="91" alt="non, n'ôtent rien, non, non, non, n'ôtent rien à ta majesté!" title="non, n'ôtent rien, non, non, non, n'ôtent rien à ta majesté!" /></p>
+
+<p class="center">[<a href="music/music72.midi">Listen</a>]</p>
+
+<p><br />
+Without the first alteration it is impossible to realize the
+composer&#8217;s wish for a climax on the word &#8220;<i>rien</i>&#8221;; the second change
+is due to the fact that the <i>tessitura</i> of the phrase is somewhat
+high, and Faure, who was a low rather than high baritone, dreaded the
+high <i>f</i><span title="sharp symbol">&#9839;</span>.</p>
+
+<p>Indeed, it was for this latter reason that this most accomplished
+singer never sang in Verdi&#8217;s operas. According to his own statement,
+he had to deny himself this pleasure, because most of the baritone
+parts in the Italian composer&#8217;s operas are written in a high
+<i>tessitura</i>.</p>
+
+<p>When Gounod wrote his <i>Faust</i> for the Th&#233;&#226;tre-Lyrique, Paris, spoken
+dialogue was used in place of the recitatives subsequently added by
+the composer when the work passed, ten years later, into the
+r&#233;pertoire of the Op&#233;ra. In its earlier form, therefore, it belonged
+to the category<span class="pagenum"><a name="Page_65" id="Page_65">[Pg&#160;65]</a></span> of <i>op&#233;ra-comique</i>, in which tenors were then
+permitted to use the falsetto voice for their very highest tones. This
+custom, though sanctioned in <i>op&#233;ra-comique</i>, was not permitted or
+accepted in <i>grand op&#233;ra</i>, to which Gounod&#8217;s work in the revised form
+now belongs. At the beginning of the sixth bar from the end of the
+tenor <i>cavatina</i> in the Garden Scene: &#8220;<i>Salut! demeure chaste et
+pure</i>,&#8221; occurs the high sustained <i>c</i>.</p>
+
+<p>Not all tenors who sing the r&#244;le are possessed of the much-coveted
+&#8220;<i>do di petto</i>,&#8221; so a discreet <i>pointage</i> becomes a necessity, since
+the tone was originally intended, as I have said, to be sung in
+falsetto. Those robust tenors who, possessing this tone, launch it out
+at full voice, unheeding the delicate accompaniment with violin
+obbligato in the orchestra, and the calm, mystic serenity of the
+surroundings, are surely more desirous of drawing the attention of the
+public to themselves, than actuated by an artistic desire to interpret
+faithfully the scene as intended by composer and librettist.</p>
+
+<p>It was owing to the use by light tenors of the so-called falsetto
+voice, now no longer in favor with the public, that such of the
+<i>op&#233;ras-comiques</i> by Boi&#235;ldieu, Hal&#233;vy, Auber, etc., which still keep
+the stage, necessitate frequent <i>pointage</i>, in order to render their
+execution compatible with existing requirements. Sometimes a composer
+utilizes an exceptional voice, as was the case with the r&#244;les written
+for Martin. This singer must have possessed either a strong tenor
+voice with exceptional low tones, or a baritone voice with perhaps an
+unusual command of the falsetto&#8212;history furnishes but vague<span class="pagenum"><a name="Page_66" id="Page_66">[Pg&#160;66]</a></span>
+information on this point. In any case, the r&#244;les written for
+him&#8212;called Martin-tenor or Martin-baritone parts&#8212;are now assigned to
+the ordinary baritone. <i>Pointage</i> then becomes inevitable, as in the
+case of H&#233;rold&#8217;s <i>Zampa</i>, the compass required as printed being from</p>
+
+<p class="center">
+<br />
+<img src="images/music73.png" width="121" height="63" alt="music" title="music" /></p>
+
+<p class="center">[<a href="music/music73.midi">Listen</a>]</p>
+
+<p><br />
+In the r&#244;les, such as <i>Mignon</i> (Thomas) and <i>Carmen</i> (Bizet), written
+for Madame Galli-Mari&#233;, their respective composers themselves have so
+arranged the parts that they may be sung by either mezzo-soprano or
+soprano. The r&#244;le of Mignon has alternatives, in order that it may be
+sung by three types of female voices. The roulades and cadenzas were
+subsequently added by the composer for Madame Christine Nilsson.</p>
+
+<p>If the r&#244;le is sung by a high soprano, Mignon&#8217;s first air, &#8220;Connais-tu
+le pays,&#8221; is transposed a tone higher into <i>E</i> flat.</p>
+
+<p>In the famous duet between Rao&#251;l and Valentine in the fourth act of
+<i>Les Huguenots</i>, the composer has given alternative notes for those
+tenors who do not possess the exceptional altitude required for the
+higher of the two:</p>
+
+<p class="center">
+<br />
+<img src="images/music74.png" width="511" height="172" alt="Ah! viens! ah! viens! ah! viens!" title="Ah! viens! ah! viens! ah! viens!" /></p>
+
+<p class="center">[<a href="music/music74.midi">Listen</a>]</p>
+
+<p><span class="pagenum"><a name="Page_67" id="Page_67">[Pg&#160;67]</a></span></p>
+
+<p><br />
+I heard recently, however, a performance of this opera, in which the
+tenor sang the whole of the music as written, without either
+transposition or <i>pointage</i>. So it was sung, I should imagine, by the
+famous Adolphe Nourrit, who created the r&#244;le; but the pitch at that
+time (1836) was lower than it is at present.</p>
+
+<p>Thus composers have recognized the necessity at times of <i>pointage</i> in
+certain r&#244;les written for exceptionally gifted singers, in order to
+render possible to the many that which was originally written for the
+few.</p>
+
+<p>Changes from the published version have also been made&#8212;and proving
+effective have passed into tradition&#8212;by singers who, exercising the
+liberty then accorded them by composers, have slightly modified
+certain passages for several reasons: for instance, to augment the
+effect by making the phrase more characteristic of the vocal
+instrument, or to express more forcibly the composer&#8217;s idea.</p>
+
+<p>The following illustrations will render my meaning clearer. The
+changes originated in the causes I have mentioned, and are attributed
+to Madame Dorus-Gras:</p>
+
+<p class="center">
+<br />
+<img src="images/music75.png" width="505" height="237" alt="Robert, toi que j'aime" title="Robert, toi que j'aime" /></p>
+
+<p class="center">[<a href="music/music75.midi">Listen</a>]</p>
+
+<p><span class="pagenum"><a name="Page_68" id="Page_68">[Pg&#160;68]</a></span></p>
+
+<p><br />
+The phrase &#8220;Gr&#226;ce, gr&#226;ce,&#8221; in which Isabelle implores Robert of
+Normandy&#8217;s forgiveness, occurs three times. When it recurs for the
+last time, a change from the printed text is not only justifiable; it
+is demanded, in order to give additional intensity and power to the
+phrase, and to avoid the monotony caused by mere repetition. This
+modification is all the more defensible, as the composer has
+substituted the orchestra, with the strings <i>tremolo</i>, for the
+rhythmical harp-figure with which he accompanies the phrase on its
+first and second presentations. Here is the accepted traditional
+change:</p>
+
+<p class="center">
+<br />
+<img src="images/music76.png" width="507" height="86" alt="Grâce, grâce pour moi-même, pour toi-même" title="Grâce, grâce pour moi-même, pour toi-même" /></p>
+
+<p class="center">[<a href="music/music76.midi">Listen</a>]</p>
+
+<p><br />
+Again, to sing the final cadenza of this air as Meyerbeer briefly
+indicated it, would be impossible and absurd:</p>
+
+<p class="center">
+<br />
+<img src="images/music77.png" width="508" height="170" alt="ah! grâce pour moi, ah! grâce, ah! grâce pour moi" title="ah! grâce pour moi, ah! grâce, ah! grâce pour moi" /></p>
+
+<p class="center">[<a href="music/music77.midi">Listen</a>]</p>
+
+<p><br />
+Other changes have their origin in the fact that sometimes a great
+climax is rendered impossible of realization because the musical
+phrase culminates on a vowel-sound difficult of emission on that note,
+and devoid of sonority; another word has sometimes to be substituted.<span class="pagenum"><a name="Page_69" id="Page_69">[Pg&#160;69]</a></span>
+For this reason, in the first air of Alice in the same opera
+(<i>Robert</i>), &#8220;<i>Va, dit-elle</i>,&#8221; a verbal rearrangement is always
+resorted to:</p>
+
+<p class="center">
+<br />
+<img src="images/music78.png" width="507" height="151" alt="Sa mère va prier pour lui" title="Sa mère va prier pour lui" /></p>
+
+<p class="center">[<a href="music/music78.midi">Listen</a>]</p>
+
+<p><br />
+To avoid the disagreeable and ineffective result produced by the high
+descending passage on the word &#8220;lui&#8221; (pronounced in English as
+&#8220;lwee&#8221;), the last few bars are performed thus:</p>
+
+<p class="center">
+<br />
+<img src="images/music79.png" width="508" height="77" alt="sa mère va prier" title="sa mère va prier" /></p>
+
+<p class="center">[<a href="music/music79.midi">Listen</a>]</p>
+
+<p><br />
+When <i>La Tosca</i> (Puccini) was produced in French at the Op&#233;ra-Comique,
+Paris, the unfortunate artist to whom was allotted the tenor r&#244;le was
+expected by the translator to sing at full voice, and after a crashing
+chord from the entire orchestra, marked <i>ffff</i> in the score, the
+following words:</p>
+
+<p class="center">
+<br />
+<img src="images/music80.png" width="377" height="82" alt="au péril de ma vie" title="au péril de ma vie" /></p>
+
+<p class="center">[<a href="music/music80.midi">Listen</a>]</p>
+
+<p><br />
+As it was found to be out of the question to produce<span class="pagenum"><a name="Page_70" id="Page_70">[Pg&#160;70]</a></span> the effect
+desired with the words as they stood, the phrase was afterwards
+changed to:</p>
+
+<p class="center">
+<br />
+<img src="images/music81.png" width="377" height="83" alt="pour combattre l'infâme" title="pour combattre l'infâme" /></p>
+
+<p class="center">[<a href="music/music80.midi">Listen</a>]</p>
+
+<p><br />
+Frequently modifications, most happy in their effect, are due to the
+inspiration of a particularly gifted artist.</p>
+
+<p>Madame Viardot-Garcia, finding the phrase of the cabaletta in the aria
+&#8220;<i>Se Romeo t&#8217;uccise</i>&#8221; (<i>Romeo e Giulietta</i>, Bellini) somewhat weak and
+ineffective, made the skilful <i>pointage</i> here given:</p>
+
+<p class="center">
+<br />
+<img src="images/music82.png" width="505" height="194" alt="Ma su voi ricada il sangue" title="Ma su voi ricada il sangue" /></p>
+
+<p class="center">[<a href="music/music82.midi">Listen</a>]</p>
+
+<p><br />
+A great artist may feel at times the inadequacy of the phrase as it
+stands to convey justly the composer&#8217;s idea. Take, for instance, the
+well-known change which every soprano who sings the r&#244;le of Leonora
+introduces in the <i>Miserere</i> scene of <i>Il Trovatore</i>. The passage
+occurs four times in succession, and as printed becomes commonplace
+and monotonous.</p>
+
+<p class="center">
+<br />
+<img src="images/music83.png" width="509" height="81" alt="Di te, di te scordarmi!" title="Di te, di te scordarmi!" /></p>
+
+<p class="center">[<a href="music/music83.midi">Listen</a>]</p>
+
+<p><span class="pagenum"><a name="Page_71" id="Page_71">[Pg&#160;71]</a></span></p>
+
+<p><br />
+The accepted traditional change certainly conveys the impression of
+Leonora&#8217;s gradually increasing anguish and terror; not the idea that
+it is introduced merely to exploit a high tone:</p>
+
+<p class="center">
+<br />
+<img src="images/music84.png" width="508" height="101" alt="Di te, di te scordarmi!" title="Di te, di te scordarmi!" /></p>
+
+<p class="center">[<a href="music/music84.midi">Listen</a>]</p>
+
+<p><br />
+That this departure from the text must have been sanctioned by Verdi,
+is, I think, proved by the fact that it has always been sung thus, and
+the composer himself must often have heard the substitution. He would
+certainly have forbidden its use, had he not approved of it, for he
+was particularly averse to having changes made in his music. The
+following anecdote illustrates this trait in his character. It was
+related by the late Mme. Marie Saxe, better known under her
+Italianized name of Marie Sasse. This distinguished soprano singer, a
+member of the Paris Op&#233;ra for a number of years, was engaged to give a
+certain number of performances at the Opera of Cairo. <i>Aida</i> was one
+of the operas stipulated for in her contract. She had never sung the
+r&#244;le, and in studying it found the <i>tessitura</i> of the music, at one or
+two points, a little too high for her natural means. As she was
+compelled by her contract to sing the opera, she asked Verdi to make
+some slight changes to bring the music within her reach. But he
+refused absolutely to make the least alteration.</p>
+
+<p>Madame Saxe was specially selected by Meyerbeer to create the r&#244;le of
+S&#233;lika in <i>l&#8217;Africaine</i>. She studied the<span class="pagenum"><a name="Page_72" id="Page_72">[Pg&#160;72]</a></span> part for three months with
+the composer, and sang it when the work was first given at the Paris
+Op&#233;ra. She was also chosen by Richard Wagner for the part of Elisabeth
+when <i>Tannh&#228;user</i> was given its stormy performances, with Niemann in
+the title-r&#244;le, at the same theatre in 1861.</p>
+
+<p>Madame Saxe possessed a score of <i>Tannh&#228;user</i> with the inscription in
+the composer&#8217;s handwriting:</p>
+
+<div class="blockquot">
+<p>
+<span style="margin-left: 2em;">&#8220;<i>A ma courageuse amie</i></span><br />
+<span style="margin-left: 3em;"><i>Mademoiselle Marie Saxe.</i></span><br />
+<span style="margin-left: 9em;"><i>L&#8217;Auteur</i></span><br />
+<span style="margin-left: 7em;">RICHARD WAGNER.&#8221;</span><br />
+</p>
+</div>
+
+<p>The slight modifications, or <i>pointages</i>, asked from Verdi, were not,
+I was assured by Madame Saxe, of a character to alter either the r&#244;le
+or the opera, and she remarked (I quote her own words): &#8220;Why should
+Verdi have shown himself more unreasonable or less yielding than
+Meyerbeer or Wagner?&#8221; (<i>plus intransigeant, plus intraitable que</i>
+Meyerbeer <i>ou</i> Wagner?).</p>
+
+<hr style="width: 45%;" />
+
+<p>In tradition, however, there is the true or accepted tradition&#8212;so
+called because believed to have been sanctioned by the composer
+himself, or approved of by competent authorities and its use warranted
+by time&#8212;and the false. This latter is simply an accumulation of
+excrescences superimposed on the original by individual whim or
+personal fancy. These have been invented<span class="pagenum"><a name="Page_73" id="Page_73">[Pg&#160;73]</a></span> by singers desirous of
+bringing into relief certain special and peculiar gifts, or who have
+mistaken, perhaps forgotten, the original and authentic tradition.
+Thus their artistic heritage has become so altered and disfigured by
+successive additions, or &#8220;machicotage,&#8221; as to bear no resemblance to
+the original, this being buried under a heap of useless complications.</p>
+
+<p>But it may be asked, are there no authoritatively correct printed
+editions of such classics with the accepted traditions and the proper
+mode of their performance expressed in modern musical notation? Yes:
+but they are incomplete, being for the most part confined to airs and
+other excerpts, instead of the complete works themselves. In this
+connection, I may cite the admirable edition of the &#8220;<i>Gloires
+d&#8217;Italie</i>&#8221; by the late erudite musician and authority, Gevaert, for so
+many years Director of the Conservatoire at Brussels. These editions
+are characterized by a scrupulous fidelity to the composers&#8217; text as
+it was understood when written, as well as by great taste and musical
+sense of what is appropriate and fitting, in such ornaments as the
+editor has introduced, when these have been left to the discretion of
+the singer. The solo parts for the principal singers in Mozart&#8217;s
+operas of <i>Don Giovanni</i> and <i>Le Nozze di Figaro</i>, edited and revised
+for performance by the well-known singing-master and excellent
+musician, Signor Randegger, are also admirable. But other editions
+exist which do not bear the same imprint of authority, or
+conscientious care in their revision, as do the versions just
+mentioned.<span class="pagenum"><a name="Page_74" id="Page_74">[Pg&#160;74]</a></span></p>
+
+<p>In the edition of the well-known air &#8220;<i>J&#8217;ai perdu mon Eurydice</i>&#8221; (<i>che
+far&#242; senza Euridice?</i>) from <i>Orph&#233;e</i> (Gluck), revised by Madame
+Pauline Viardot-Garcia, no mention is made of two traditions which
+have been used and handed down by a number of the most famous singers
+of the r&#244;le of Orph&#233;e. I give them here:</p>
+
+<p class="center">
+<br />
+<img src="images/music85.png" width="504" height="203" alt="Ah! déchire mon coeur. J'ai perdu mon Eurydice" title="Ah! déchire mon coeur. J'ai perdu mon Eurydice" /></p>
+
+<p class="center">[<a href="music/music85.midi">Listen</a>]</p>
+
+<p><br />
+The change on the third repetition of the principal theme is quite in
+accordance with the license then accorded in such airs.</p>
+
+<p>In a special version of the opera <i>Armide</i> (Gluck), revised and edited
+by the late Sir Charles Hall&#233;, the first bars of the great air of
+Armide in the first scene of the fourth act, &#8220;<i>Ah! si la libert&#233;</i>&#8221;
+(Ah! if my liberty must from me then be taken), are printed thus:</p>
+
+<p class="center">
+<br />
+<img src="images/music86.png" width="335" height="76" alt="Ah! si la liberté" title="Ah! si la liberté" /></p>
+
+<p class="center">[<a href="music/music86.midi">Listen</a>]</p>
+
+<p><br />
+The situation is where Armide perceives the knight Renaud in the
+gardens of her enchanted palace, whither he has come to destroy the
+sorceress on account of her magic arts. Although the enchantress knows
+that the<span class="pagenum"><a name="Page_75" id="Page_75">[Pg&#160;75]</a></span> mission of the knight is to deprive her of liberty, she
+herself succumbs to the fatal passion of love. I have briefly
+described the scene in order that my meaning may be clear. In the
+second half of the first bar, the <i>acciaccatura</i> was never intended by
+the composer to be actually sung as printed. It was his only way of
+indicating the sob or sigh whereby Armide finishes her exclamation,
+&#8220;Ah!&#8221; The effect is called &#8220;the Dramatic sob,&#8221; and is known to every
+opera-singer. Here is the composer&#8217;s meaning, as far as it is possible
+to convey it in writing:</p>
+
+<p class="center">
+<br />
+<img src="images/music87.png" width="336" height="82" alt="Ah! si la liberté" title="Ah! si la liberté" /></p>
+
+<p class="center">[<a href="music/music87.midi">Listen</a>]</p>
+
+<p><br />
+(A <i>portamento</i> must be made from the first note to the next, when the
+breath must be taken quickly to give the idea of a sob or sigh.)</p>
+
+<p>Again, in a recent edition of the same air by the distinguished
+composer Vincent d&#8217;Indy (<i>Nouvelle &#201;dition Fran&#231;aise de Musique
+Classique</i>), occurs the following:</p>
+
+<p class="center">
+<br />
+<img src="images/music88.png" width="521" height="243" alt="tu règnes dans mon coeur!" title="tu règnes dans mon coeur!" /></p>
+
+<p class="center">[<a href="music/music88.midi">Listen</a>]</p>
+
+<p><span class="pagenum"><a name="Page_76" id="Page_76">[Pg&#160;76]</a></span></p>
+
+<p><br />
+The effect of the <i>F</i> sharp in the last bar, if sung against the
+harmony given, in which the preceding chord is resolved, would be
+intolerable. Surely, the composer intended a pronounced <i>rallentando</i>
+on the latter half of the bar, and a carrying of the voice by a
+<i>portamento</i> to the last note. Thus:</p>
+
+<p class="center">
+<br />
+<img src="images/music89.png" width="386" height="83" alt="tu règnes dans mon coeur!" title="tu règnes dans mon coeur!" /></p>
+
+<p class="center">[<a href="music/music89.midi">Listen</a>]</p>
+
+<p><br />
+In the edition of the immortal air in the opera of <i>Xerxes</i>,
+universally known as the &#8220;Largo of Handel,&#8221; also revised and edited by
+d&#8217;Indy, may be noticed the following:</p>
+
+<p class="center">
+<br />
+<img src="images/music90.png" width="519" height="451" alt="Non v'oltraggino mai la cara pace, ne giunga a profanarvi austro rapace!" title="Non v'oltraggino mai la cara pace, ne giunga a profanarvi austro rapace!" /></p>
+
+<p class="center">[<a href="music/music90.midi">Listen</a>]</p>
+
+<p><span class="pagenum"><a name="Page_77" id="Page_77">[Pg&#160;77]</a></span></p>
+
+<p><br />
+Of course, every operatic conductor knows that the chord in the
+orchestra must be played &#8220;after the voice,&#8221; as the technical phrase
+has it. But not every pianist or organist is familiar with this usage,
+and the effect would be very disagreeable if given as written. It
+should be performed thus:</p>
+
+<p class="center">
+<br />
+<img src="images/music91.png" width="522" height="439" alt="Non v'oltraggino mai la cara pace, ne giunga a profanarvi austro rapace!" title="Non v'oltraggino mai la cara pace, ne giunga a profanarvi austro rapace!" /></p>
+
+<p class="center">[<a href="music/music91.midi">Listen</a>]</p>
+
+<p><br />
+Besides, why claim that a certain edition is &#8220;revised and edited,&#8221;
+when all the care and musical knowledge seem to have been expended on
+the harmonies only? Surely, the voice-part in these classics is not
+without its need of elucidation.</p>
+
+<p>An edition of <i>The Messiah</i>, revised for performance,<span class="pagenum"><a name="Page_78" id="Page_78">[Pg&#160;78]</a></span> can scarcely be
+called accurate when such defects as the following occur:</p>
+
+<div class="blockquot">
+<p>&#8220;And <span class="symbol">they<img class="symbol" src="images/fermata.png" width="25" height="12" alt="fermata symbol" title="fermata symbol" /></span>&#8212;
+<span class="bigger">&#8217;</span> were sore afraid.&#8221;</p>
+</div>
+
+<p>The following is the authentic mode of performing the phrase:</p>
+
+<div class="blockquot">
+<p>&#8220;And <span class="symbol">&#8212;&#8212;<img class="symbol" src="images/fermata.png" width="25" height="12" alt="fermata symbol" title="fermata symbol" /></span><span class="bigger">&#8217;</span>
+<span class="symbol">they were sore afraid.&#8221;<img class="slur" src="images/sombre.png" width="130" height="17" alt="slur and sombre" title="slur and sombre" /></span></p>
+</div>
+
+<p>In the same edition for the solo singers occurs: (&#8220;Behold and see&#8221;):</p>
+
+<p class="center">
+<br />
+<img src="images/music92.png" width="508" height="81" alt="If there be any sorrow like unto His sorrow" title="If there be any sorrow like unto His sorrow" /></p>
+
+<p class="center">[<a href="music/music92.midi">Listen</a>]</p>
+
+<p><br />
+But by a slight syllabic rearrangement, the disagreeable accent on the
+last syllable of &#8220;un-<i>to</i>&#8221; is avoided, and the accent placed on the
+word &#8220;His,&#8221; to which it belongs, while the composer&#8217;s music remains
+untouched.</p>
+
+<p class="center">
+<br />
+<img src="images/music93.png" width="290" height="76" alt="like unto His sorrow" title="like unto His sorrow" /></p>
+
+<p class="center">[<a href="music/music93.midi">Listen</a>]</p>
+
+<p><br />
+Again, in the same air occurs:</p>
+
+<p class="center">
+<br />
+<img src="images/music94.png" width="388" height="176" alt="like unto His sorrow" title="like unto His sorrow" /></p>
+
+<p class="center">[<a href="music/music94.midi">Listen</a>]</p>
+
+<p><span class="pagenum"><a name="Page_79" id="Page_79">[Pg&#160;79]</a></span></p>
+
+<p><br />
+While recognizing the benefits conferred by some of these specially
+prepared editions, there remains still more to be accomplished in this
+direction before the work is complete. A flood of light has been
+thrown on the dark and nebulous places of the instrumental classics by
+various distinguished and highly competent musicians. It is sincerely
+to be hoped, in the interests of this branch of the &#230;sthetics of vocal
+art, that those competent to speak with authority will do so, in order
+that in this direction also &#8220;the crooked shall be made straight, and
+the rough places plain.&#8221;</p>
+
+<p>I admit that this question of revising the composer&#8217;s written text is
+an exceedingly delicate and difficult one. It should be attempted only
+by those possessed of the requisite authority, those who combine tact
+and taste with judgment and experience. To these qualities should be
+added a sincere and reverential desire to place in the highest relief
+the meaning of both poet and composer.</p>
+
+<hr style="width: 45%;" />
+
+<p>I have said that the license formerly accorded by composers to
+singers&#8212;particularly operatic singers&#8212;manifested itself in a twofold
+form. The second of these phases was the introduction in the body of a
+theme or melody, and also at its close, of embellishments. Sometimes
+the composer briefly sketched these ornaments; at other times their
+places only were indicated. The ornaments in the body of an air are
+known as <i>abbellimenti</i> or <i>fioriture</i>; those at its close, as
+<i>cadenze</i>.<span class="pagenum"><a name="Page_80" id="Page_80">[Pg&#160;80]</a></span></p>
+
+<p>Here is an example of the former, taken from the duet in <i>Elisa e
+Claudio</i> by Mercadante:</p>
+
+<p class="center">
+<br />
+<img src="images/music95.png" width="508" height="148" alt="Se un istante all'offerta d'un soglio vacillasse il mio genio primiero" title="Se un istante all'offerta d'un soglio vacillasse il mio genio primiero" /></p>
+
+<p class="center">[<a href="music/music95.midi">Listen</a>]</p>
+
+<p><br />
+The following is the same passage ornamented:</p>
+
+<p class="center">
+<br />
+<img src="images/music96.png" width="508" height="169" alt="Se un istante all'offerta d'un soglio vacillasse il mio genio primiero" title="Se un istante all'offerta d'un soglio vacillasse il mio genio primiero" /></p>
+
+<p class="center">[<a href="music/music96.midi">Listen</a>]</p>
+
+<p><br />
+(As sung by Mme. Malibran. Quoted from &#8220;<i>M&#233;canisme des Traits</i>,&#8221; by de
+La Madelaine, 1868.)</p>
+
+<p>The r&#244;le of Rosina in Rossini&#8217;s <i>Il Barbiere</i> has long been a
+favourite peg with prime donne on which to hang interpolated ornaments
+for the display of their vocal agility. Some of these are not always
+in good taste, being trivial or banal in character, thus concealing
+the natural charm of the original melody under a species of Henri Herz
+variations. Others, however, such as those used by the Patti and the
+Sembrich, for instance, are of great originality and excellent effect.</p>
+
+<p>Here are some of the traditional ornaments and<span class="pagenum"><a name="Page_81" id="Page_81">[Pg&#160;81]</a></span> cadenzas sung by
+certain famous singers of the past in Rosina&#8217;s entrance cavatina:
+&#8220;<i>Una voce poco fa</i>.&#8221; This air was originally written by Rossini in
+<i>E</i> major, the part of Rosina being intended for a mezzo-soprano, and
+was thus sung by the late Paulina Viardot-Garcia. This exceptionally
+gifted artist, possessing a voice of very great compass, was enabled
+to sing not only the r&#244;les assigned to mezzo-soprano contraltos, such
+as Orph&#233;e, or Fid&#232;s (<i>Le Proph&#232;te</i>), which she created, but also the
+parts given to dramatic sopranos. Mme. Viardot was thus able, with
+some slight modifications, to sing Norma, Desdemona (<i>Otello</i>:
+Rossini), Rachel (<i>La Juive</i>), etc.</p>
+
+<p>The r&#244;le of Rosina has now definitely passed into the possession of
+florid or <i>coloratura</i> sopranos; much, therefore, of the music is of
+necessity transposed, the air in question being now sung one half-tone
+higher, in the key of <i>F</i>.</p>
+
+<p>Here is a change used by Mme. Cinti-Damoreau, who sang the music in
+the original key. The composer wrote:</p>
+
+<p class="center">
+<br />
+<img src="images/music97.png" width="504" height="90" alt="Si Lindoro mio sarà" title="Si Lindoro mio sarà" /></p>
+
+<p class="center">[<a href="music/music97.midi">Listen</a>]</p>
+
+<p><br />
+Mme. Cinti-Damoreau sang thus:</p>
+
+<p class="center">
+<br />
+<img src="images/music98.png" width="506" height="96" alt="Si Lindoro mio sarà" title="Si Lindoro mio sarà" /></p>
+
+<p class="center">[<a href="music/music98.midi">Listen</a>]</p>
+
+<p><span class="pagenum"><a name="Page_82" id="Page_82">[Pg&#160;82]</a></span></p>
+
+<p><br />
+In the same bar Mlle. Henrietta Sontag, who sang the air a semitone
+higher, introduced the following:</p>
+
+<p class="center">
+<br />
+<img src="images/music99.png" width="505" height="170" alt="Si Lindoro mio sarà" title="Si Lindoro mio sarà" /></p>
+
+<p class="center">[<a href="music/music99.midi">Listen</a>]</p>
+
+<p><br />
+Rossini wrote no cadenza to the air:</p>
+
+<p class="center">
+<br />
+<img src="images/music100.png" width="185" height="71" alt="lo vincerò!" title="lo vincerò!" /></p>
+
+<p class="center">[<a href="music/music100.midi">Listen</a>]</p>
+
+<p><br />
+Cadenza of Mlle. Sontag:</p>
+
+<p class="center">
+<br />
+<img src="images/music101.png" width="503" height="188" alt="Ah! ah! ah! lo vincerò!" title="Ah! ah! ah! lo vincerò!" /></p>
+
+<p class="center">[<a href="music/music101.midi">Listen</a>]</p>
+
+<p><br />
+I have already spoken of the bad taste exhibited by some mediocre
+singers in covering a coloratura air with so many roulades, etc., as
+to render it barely recognizable. It was after hearing one of his own
+arias overloaded and disfigured in this manner that Rossini, who was
+noted for his biting wit and stinging sarcasms, is said to have
+remarked: &#8220;What charming music! Whom is it by?&#8221;<span class="pagenum"><a name="Page_83" id="Page_83">[Pg&#160;83]</a></span></p>
+
+<p>Bellini, Donizetti, and composers of their school, sometimes did
+little more than hand over to the singer engaged to create their works
+a rough sketch, as it were, which the artists were supposed to fill in
+and perfect. Singers were expected to add such <i>fioriture</i>, or
+&#8220;flowers,&#8221; as would best display their salient points of style and
+individual characteristics. The Cavatina, or slow movement of the
+aria, was the medium which called for the qualities of expressive
+singing, while the Cabaletta was a vehicle for the display of
+virtuosity and technical mastery. In this latter movement, the
+equivalent of the Rondo in instrumental music, the performer was left
+perfectly free to use such embellishments as set forth his own gifts
+to the greatest advantage. Some singers excelled in bold and rapid
+flights of scales, chromatic and diatonic; others, in the neat and
+clean-cut execution of involved <i>traits</i> or figures. It must be
+remembered, that the great singers of the past were perfectly
+competent to add these ornaments themselves, as they possessed a
+complete and sound musical education.</p>
+
+<p>More: sometimes these singers even collaborated with the composers.
+Crescentini, the last famous male sopranist, is reputed by history or
+legend&#8212;the two are not infrequently synonymous&#8212;to have been himself
+the composer of the well-known aria &#8220;<i>Ombra adorata</i>,&#8221; introduced by
+him in Zingarelli&#8217;s opera <i>Romeo e Giulietta</i>, as also of the prayer
+sung by Romeo in the same work. His singing of it is said to have
+moved his audience to tears, and gained for him the decoration of the
+Iron Crown, conferred upon him by Napoleon I. The Em<span class="pagenum"><a name="Page_84" id="Page_84">[Pg&#160;84]</a></span>peror also
+induced him, by the offer of a large salary, to settle in Paris as
+professor of singing.</p>
+
+<p>When these great artists&#8212;their career as public singers being
+ended&#8212;began in turn to form pupils, they were admirably fitted for
+the task of imparting instruction, being excellent musicians, and, as
+I have said, composers of no insignificant merit. They had a sound
+theoretical knowledge, compared with which that of many of our modern
+singers seems but a pale and feeble reflection.</p>
+
+<p>The collaboration of composer and interpreter is not altogether
+unknown in the domain of instrumental music. Is it not historical that
+Mendelssohn profited largely from the wise counsels of the celebrated
+violinist Ferdinand David in the composition of his concerto for
+violin and orchestra? This does not mean that David contributed any
+musical phrases or ideas to the work; but that his practical knowledge
+of the special characteristics and capabilities of the solo instrument
+enabled him to suggest how the composer&#8217;s thoughts might be most
+fittingly presented.</p>
+
+<p>Returning to the question of the introduction of ornaments, etc., into
+a composer&#8217;s work, the following extract may be of interest to the
+musical student. It is from a volume of criticism, now out of print, a
+copy of which is possessed by the present writer. The article appeared
+in <i>La Patrie</i> more than forty years ago, and was called forth by the
+ornaments written by the then well-known singer and teacher of great
+ability, St&#233;phan de La Madelaine. These changes were for the great<span class="pagenum"><a name="Page_85" id="Page_85">[Pg&#160;85]</a></span>
+air of Agathe in the second act of <i>Der Freisch&#252;tz</i>, and were the
+cause of much discussion among the music-critics of the time.</p>
+
+<p>&#8220;Following the example of celebrated vocal virtuosi whom he had
+formerly known, and availing himself of the license then permitted,
+the master (de La Madelaine) has introduced several alterations
+(<i>changements</i>). These, however, in no sense clash with the original
+character of the air itself.</p>
+
+<p>&#8220;That the introduction of such ornaments has caused an outcry, is not
+surprising. We should remember, however, that the <i>Freisch&#252;tz</i> was
+written at a period when, in certain places, the composer left the
+field entirely open to the singer, permitted him to make such changes
+as he might deem necessary. It must not be thought that in so doing
+the interpreter corrects the composer: he simply seeks to express, to
+the utmost of his abilities, the intention of the author.</p>
+
+<p>&#8220;The operas of Bellini, of Rossini, and, in general, of all the
+Italian masters, are full of these intentional gaps (<i>lacunes</i>) which
+were filled in by the singers. Nay, in the earliest days of the
+Neapolitan school, still greater liberty was allowed; the recitatives
+were all improvised by the executants, and were not even noted down.
+Each singer made his own, which the <i>maestro al cembalo</i> accompanied
+with a few simple chords.</p>
+
+<p>&#8220;In the cavatina in <i>Norma</i>, each <i>cantatrice</i> introduces her own
+changes on the recurrence of the principal theme, and the public
+applauds. Why then this outcry against the same procedure in <i>Der
+Freisch&#252;tz</i>?<span class="pagenum"><a name="Page_86" id="Page_86">[Pg&#160;86]</a></span></p>
+
+<p>&#8220;<i>That this custom or practice might lead to great abuse and that it
+is necessary to uproot it gradually, is our opinion.</i> But this radical
+reform can be realized only in forthcoming works; those of the ancient
+school ought to be interpreted by following the conventions which the
+composer himself has respected.</p>
+
+<p>&#8220;That the <i>changements</i> written by M. de La Madelaine for the air of
+the <i>Freisch&#252;tz</i> are permissible, is proved by the fact that Weber
+himself has sanctioned and approved them, as, if need be, a great
+number of contemporaries can attest.&#8221; (<span class="smcap">Franck-Marie.</span>)</p>
+
+<p>Whoever has had the good fortune to hear Mme. Marcella Sembrich in the
+r&#244;le of Amina, in Bellini&#8217;s <i>La Sonnambula</i>, will have heard an
+excellent example of remarkable technical skill or virtuosity, with
+irreproachable taste regulating its display. The ornaments and changes
+used by her in the <i>rondo finale</i>, &#8220;<i>Ah, non giunge</i>,&#8221; are models of
+their genre. What else could be expected of an artist so gifted as to
+be able to perform the lesson-scene in Rossini&#8217;s <i>Il Barbiere</i>
+(introducing therein the air with variations by Proch) in Italian; and
+in the course of the same scene sing, in German, &#8220;<i>Ich liebe dich</i>,&#8221;
+by Grieg, and play the Andante and Rondo Russe, for violin, by de
+B&#233;riot, and a valse by Chopin on the piano?</p>
+
+<p>The opera, <i>La Sonnambula</i>, requires much rearrangement both of the
+music and of the verbal text, to which it is badly fitted. The greater
+part of the music written for Elvino has to be transposed, mostly a
+third lower, in order to make it practicable under existing
+conditions.<span class="pagenum"><a name="Page_87" id="Page_87">[Pg&#160;87]</a></span></p>
+
+<p>No effect whatever could be made were a cantatrice to follow
+implicitly the written notes of this opera, such being merely a rough
+sketch, as it were, of the composer&#8217;s ideas, which the singer is
+supposed to complete. Several instances from the andante &#8220;<i>Ah! non
+credea mirarti</i>,&#8221; will suffice to prove this. The following is the
+printed version.</p>
+
+<p class="center">
+<br />
+<img src="images/music102.png" width="410" height="146" alt="Ah non credea mirarti, Sì presto estinto, o fiore" title="Ah non credea mirarti, Sì presto estinto, o fiore" /></p>
+
+<p class="center">[<a href="music/music102.midi">Listen</a>]</p>
+
+<p><br />
+This is but a suggestion of the composer&#8217;s idea. The artist will
+therefore not follow too closely the printed version; but following
+the evident indications for a pathetic and expressive <i>cantabile</i> will
+perform it thus:</p>
+
+<p class="center">
+<br />
+<img src="images/music103.png" width="428" height="149" alt="Ah non credea mirarti, Sì presto estinto, o fiore" title="Ah non credea mirarti, Sì presto estinto, o fiore" /></p>
+
+<p class="center">[<a href="music/music103.midi">Listen</a>]</p>
+
+<p><br />
+Again a brief outline, as printed:</p>
+
+<p class="center">
+<br />
+<img src="images/music104.png" width="429" height="149" alt="Passasti al par d'amore, che un giorno, che un giorno sol durò" title="Passasti al par d'amore, che un giorno, che un giorno sol durò" /></p>
+
+<p class="center">[<a href="music/music104.midi">Listen</a>]</p>
+
+<p><span class="pagenum"><a name="Page_88" id="Page_88">[Pg&#160;88]</a></span></p>
+
+<p><br />
+which, if sung as follows, fills in the details:</p>
+
+<p class="center">
+<br />
+<img src="images/music105.png" width="423" height="163" alt="Passasti al par d'amore, che un giorno, che un giorno sol durò" title="Passasti al par d'amore, che un giorno, che un giorno sol durò" /></p>
+
+<p class="center">[<a href="music/music105.midi">Listen</a>]</p>
+
+<p><br />
+Also the passage in the same aria, where Amina sobs as she slowly lets
+fall to the ground the blossoms given her in the first act by Elvino,
+requires an entire rearrangement of the syllables to bring out the
+composer&#8217;s meaning.</p>
+
+<p class="center">
+<br />
+<img src="images/music106.png" width="509" height="167" alt="Che un giorno sol durò, Passasti al par d'amor" title="Che un giorno sol durò, Passasti al par d'amor" /></p>
+
+<p class="center">[<a href="music/music106.midi">Listen</a>]</p>
+
+<p><br />
+Let any one go over this passage carefully, and he will be convinced
+that it is, as I have said, merely a sketch of the composer&#8217;s idea. As
+it stands in the published version it is impossible of execution, and
+if it were possible, would be devoid of all effect: the syllables
+being wrongly placed, no opportunity for breathing is given the
+singer, and the final cadenza is marred by being allotted to the word
+&#8220;amore.&#8221; Here is a revision of the latter, the cadenza being one I
+wrote for<span class="pagenum"><a name="Page_89" id="Page_89">[Pg&#160;89]</a></span> a pupil, Mme. Easton-Maclennan, of the Royal Opera, Berlin:</p>
+
+<p class="center">
+<br />
+<img src="images/music107.png" width="514" height="249" alt="Che un giorno sol durò, Passasti al par d'amor" title="Che un giorno sol durò, Passasti al par d'amor" /></p>
+
+<p class="center">[<a href="music/music107.midi">Listen</a>]</p>
+
+<p><br />
+It will thus be seen, from the numerous foregoing examples, that these
+ornaments and interpolations are not added from a vulgar idea of
+correcting or improving the composer&#8217;s music, but are strictly in
+accordance with certain conventions thoroughly understood by both
+composer and singer. To omit them, or follow too closely the printed
+text, would be to ignore the epoch, school and character of the music;
+a careful study of which forms one of the cornerstones of
+Interpretation. A skilled artist will always strive to analyze and
+interpret the intentions of the author. If one to whom is confided the
+vocal part of a composer&#8217;s work were to limit himself to a
+mathematically correct reproduction of the written notes only, instead
+of searching below the surface for the author&#8217;s meaning, his
+performance would merely resemble the accurate execution of a
+<i>solfeggio</i> by a conscientious scholar. It would have the same
+relation to high artistic effort as the photographic repro<span class="pagenum"><a name="Page_90" id="Page_90">[Pg&#160;90]</a></span>duction of
+a landscape bears to the same scene as viewed and transmitted to
+canvas by a great painter.</p>
+
+<p>The sincere artist will carefully consider every detail. He will not
+be content to study his own part only, but will study the orchestral
+score which accompanies it. He will, in fact, follow the example set
+by good string-quartet players, who listen attentively to the other
+instruments during rehearsals, so that the perfect welding together of
+the different parts may form a homogeneous whole. Such an artist, in
+complete possession of the mechanical resources of his art, will
+utilize them all to embody perfectly that which, with the composer,
+existed only as a mental concept, inadequately transcribed, owing to
+the limitations of his media&#8212;pen, ink and paper.</p>
+
+<p>And it is only when in possession of the authentic traditions of
+Oratorio and Opera that the singer, such as I have supposed, will be
+able to vivify these great creations, will be able to invest them with
+warmth and colour, and thus make clear all their meaning, reveal all
+their beauty.</p>
+
+
+
+<hr style="width: 65%;" />
+<p><span class="pagenum"><a name="Page_91" id="Page_91">[Pg&#160;91]</a></span></p>
+<h2><a name="CHAPTER_V" id="CHAPTER_V"></a>CHAPTER V<br />
+<br />
+<span class="smcap">R&#233;pertoire</span><br /><br /></h2>
+
+
+<p><span class="dropcap">A</span><b>LTHOUGH</b> r&#233;pertoire forms no integral part of Style, being rather the
+medium for its practical application, a few words on this important
+subject may not be out of place. The r&#233;pertoire necessary for a singer
+may be divided into two sections, Opera and Concert. The latter
+includes Oratorio and Cantata.</p>
+
+<p>In spoken Drama, a performer may begin his career by playing the
+youthful lovers, and end it by impersonating the heavy fathers. He may
+first sigh as Romeo, and later storm as Capulet. Not so in Opera, or
+lyric Drama, where the line of work to be followed is determined at
+the outset by the type of voice possessed by the aspirant, and which
+line (or <i>emploi</i>, as it is termed) he follows of necessity to the end
+of his professional career.</p>
+
+<p>I know there are some few instances of artists who, later, have
+successfully adopted r&#244;les demanding another range than the one needed
+for their earlier efforts. But it is an open question whether the
+performer&#8217;s instrument really changed. It must either have been
+wrongly classified at one of the two periods, or the vocal
+keyboard&#8212;so to speak&#8212;transposed a little higher or lower. The
+character of the instrument remains the same; a viola strung as a
+violin would still retain its viola quality of tone.</p>
+
+<p>The case is different where a soprano who may have<span class="pagenum"><a name="Page_92" id="Page_92">[Pg&#160;92]</a></span> begun by singing
+the florid r&#244;les of opera, has so gained in volume of voice and
+breadth of style as to warrant her devoting these acquisitions to
+characters requiring more dramatic force than was needed, or could be
+utilized, in coloratura r&#244;les. Mlle. Emma Calv&#233;, Mesdames Lilli
+Lehmann and Nordica, are notable examples of this. Each of these
+distinguished artists began her career by singing what are known as
+&#8220;Princess&#8221; r&#244;les, before successfully portraying Carmen or the
+Br&#252;nnhildes. As a rule, it is by singing many different r&#244;les that the
+lyric artist gains the skill and sureness that may ultimately render
+him famous in a few. Mlle. Grandjean, now principal first dramatic
+soprano at the Paris Op&#233;ra, began her career there&#8212;after a few
+appearances at the Op&#233;ra-Comique&#8212;by singing the very small part of
+the nurse Magdalene in Wagner&#8217;s <i>Die Meistersinger</i>. Perseverance, if
+allied to ability, can accomplish much.</p>
+
+<p>When the type of voice and the natural temperament of the singer do
+not accord&#8212;as sometimes happens&#8212;he would be unwise not to adhere to
+the work for which his vocal means, not his preference, are best
+adapted. To follow the contrary path, and essay r&#244;les requiring for
+their fitting expression more dramatic fire and intensity than his
+vocal instrument can supply, would be to shorten his career, owing to
+the certain deterioration and possible extinction of the voice. There
+are sufficient voiceless examples to prove, were proof needed, the
+truth of this assertion; and their atonic condition is due to the
+cause mentioned.<span class="pagenum"><a name="Page_93" id="Page_93">[Pg&#160;93]</a></span></p>
+
+<p>The first requisite for the aspirant who wishes to follow the operatic
+career is undoubtedly a voice possessed of the three essential factors
+of Quality, Power and Compass; what is termed in Italy a &#8220;<i>voce di
+teatro</i>,&#8221; or voice for the theatre.</p>
+
+<p>But an opera-singer is actor as well as singer, and in this direction
+more&#8212;much more&#8212;is now demanded of him than formerly. But to those
+possessed of what is known as the Instinct of the Theatre, or Scenic
+Instinct, the gestures and attitudes of the operatic stage, being
+largely conventional, are soon acquired. Scenic accomplishments are
+undoubtedly necessary to the stage-singer, but his mimetic studies
+should not preclude him from making himself a thorough master of the
+vocal side of his art. There is a difference between an actor who
+sings, and a singer who acts.</p>
+
+<p>Besides the mimetic faculty, certain physical gifts are also needed by
+the opera-singer, according to the requirements of the line of r&#244;les
+to which he is inevitably assigned by the nature and type of his
+particular voice. It is true that stage artifice has now reached great
+perfection; but it has its limits, and cannot accomplish miracles.</p>
+
+<p>It requires much imagination and great generosity on the part of the
+public to accept a tenor, whose waist-girth would not unfit him for
+the part of Sir John Falstaff, as a youthful and romantic Romeo, or a
+half-starved and emaciated Rodolphe. Illusion is rudely shaken, if not
+absolutely dispelled, in witnessing a soprano, whose age and
+<i>embonpoint</i> are fully in evidence, impersonate a<span class="pagenum"><a name="Page_94" id="Page_94">[Pg&#160;94]</a></span> girlish Gilda or a
+consumptive Traviata. Such discrepancies may be overlooked by the
+public in the case of old established favourites, but it would be
+unfortunate for the d&#233;butant to commence with these drawbacks. And yet
+there have been a few famous artists whose extraordinary vocal talent
+atoned for other very pronounced defects. Such an one was the
+Pisaroni, a celebrated contralto, said to have been so ill-favoured
+that she always forwarded her likeness to any opera director to whom
+she was personally unknown, who offered her an engagement. But so
+exceptional were her voice and talent, that certain of her
+contemporary artists have declared that by the time Pisaroni had
+reached the end of her first phrase, the public was already conquered.</p>
+
+<p>As personal preference is very often mistaken for aptitude or natural
+fitness, a lyric artist is not always the best judge as to which of
+the r&#244;les in his r&#233;pertoire are really fitted to display his abilities
+to the best advantage. The singer combines in himself both instrument
+and performer; therefore he rarely, if ever, hears himself quite as
+does another person. Until possessed of the ripened judgment gained by
+experience, he would do well to be guided in this matter by one who,
+to the knowledge required, adds taste and discernment. That a liking
+or preference is sometimes mistaken for the aptitude and gifts
+necessary for the successful carrying out of certain work, is too well
+known to be even questioned. It is the constantly recurring case of
+the low comedian who wishes to play Hamlet. A young tenor<span class="pagenum"><a name="Page_95" id="Page_95">[Pg&#160;95]</a></span> whose great
+vocal and physical advantages made him an ideal Duke in <i>Rigoletto</i>, a
+fascinating Almaviva in <i>Il Barbiere</i>, found but little enjoyment in
+life because his director refused to allow him to try Otello and
+Tannh&#228;user, for which he was vocally unfitted. Never show the public
+what you cannot do, is the best advice that can be given in such
+cases. Even the finest and most experienced singers are occasionally
+liable to make mistakes in the choice of r&#244;les. Madame Patti once sang
+Carmen, and Madame Melba essayed Br&#252;nnhilde; but I am not aware that
+either of these famous cantatrices repeated the experiment.</p>
+
+<hr style="width: 45%;" />
+
+<p>For those who intend to follow a concert-singer&#8217;s career, there is a
+vast literature of vocal music specially written for this purpose,
+from which to select. There are few modern operatic excerpts which do
+not suffer somewhat by being transplanted from the stage to the
+concert-platform. In no case is this more clearly proved than in the
+selections so frequently given from Wagner&#8217;s music-dramas. Of course,
+I am speaking more particularly of those extracts which require the
+services of a vocalist. Such selections given in the concert-room are
+in distinct violation of the composer&#8217;s own wishes, frequently
+expressed. Besides lacking the necessary adjuncts of gesture, costume
+and scenery, the musical conditions of the concert-room are very
+unfavourable to the unfortunate singer. He has to struggle<span class="pagenum"><a name="Page_96" id="Page_96">[Pg&#160;96]</a></span> to make
+himself heard above the sonorities of a powerful orchestra generally
+numbering over a hundred musicians, and placed directly around and
+behind him, instead of on a lower level, as in the case of a lyric
+theatre. Besides which, Wagner&#8217;s works can now be heard in all large
+cities under the conditions necessary for their proper presentment,
+and as intended by their author-composer. Therefore, there is no
+longer the same reason as may have existed years ago, for the
+performance of extracts at purely symphonic concerts.</p>
+
+<p>In cases where the singer has to select numbers for a symphonic
+concert and to be accompanied by an orchestra, there is a mine of
+wealth, not yet exhausted, in the operas of the older classic
+composers. These, being less heavily orchestrated than the ultra
+modern works written for the theatre, do not suffer in the same degree
+from the different disposition of the orchestral instruments.</p>
+
+<p>There are also a few vocal numbers with orchestral accompaniments
+written in the form of a &#8220;scena,&#8221; such as the &#8220;Ah, perfido&#8221; of
+Beethoven, and the &#8220;Infelice&#8221; of Mendelssohn, which might possibly
+form an agreeable change to the frequenters of symphonic concerts,
+jaded a little, perhaps, with the oft-repeated &#8220;Dich theure Halle&#8221; and
+&#8220;Prayer&#8221; from <i>Tannh&#228;user</i>.</p>
+
+<p>In order to render them more in keeping with the conditions of
+symphonic concerts, orchestral accompaniments, to many songs by the
+classic composers, have been made by excellent musicians from the
+original piano-part. The ethical question involved in the presentation
+of such works in a form other than that written<span class="pagenum"><a name="Page_97" id="Page_97">[Pg&#160;97]</a></span> by the composer, need
+not be considered here. Each artist must decide the matter for
+himself.</p>
+
+<p>So far as songs with accompaniments for the piano are concerned, there
+is a mine practically inexhaustible and from which new treasures are
+constantly brought to light. For Recital purposes, the choice and
+sequence of a programme is second in importance only to its execution.
+And although suppleness and adaptability are valuable, even necessary,
+qualities, in a concert-singer, he will sometimes find that certain
+songs&#8212;admirable in themselves&#8212;are unsuited to him, for reasons which
+it is not always possible to define. In such cases it is not a matter
+of compass, or <i>tessitura</i>, of voice, or even temperament; there is
+some hidden lack of sympathy between the composer and his interpreter.
+A song should seem like a well-fitting garment; not only admirably
+made, but specially designed for the person who wears it.</p>
+
+
+
+<hr style="width: 65%;" />
+<p><span class="pagenum"><a name="Page_98" id="Page_98">[Pg&#160;98]</a></span></p>
+<h2><a name="CHAPTER_VI" id="CHAPTER_VI"></a>CHAPTER VI<br />
+<br />
+<span class="smcap">Conclusion</span><br /><br /></h2>
+
+
+<p><span class="dropcap">T</span><b>HE</b> art of Singing is at present in a period of transition; and all
+unsettled conditions are unsatisfactory. Former standards are being
+thrown down; and the new ones are not yet elected, or, if chosen, not
+yet firmly fixed in the places of the old.</p>
+
+<p>All Arts have a period in their history when they seem to reach their
+culminating point of technical perfection. Perhaps this point is
+reached when the art is practised for its own sake, without giving
+much consideration or attributing special importance to what it
+expresses. Sculpture reached its apogee under the Greeks, who, more
+than any other race, prized Form&#8212;particularly as manifested in its
+highest expression, the human figure. Painting also was at its climax
+of technical development during the Renaissance, when life was full of
+movement, and costume picturesque. But at this period in each of the
+two arts, skill was regarded as of more importance than the subject.
+In other words, the perfection of the sculptor&#8217;s statue or the scene
+depicted by the painter was of more interest and importance than the
+object or scene itself. If the work were admirably executed, the story
+it told had relatively little importance.</p>
+
+<p>Singing, which is speech conveyed through music, similarly reached its
+highest point of technical excellence<span class="pagenum"><a name="Page_99" id="Page_99">[Pg&#160;99]</a></span> when the voice of the singer
+was considered as little more than a mechanical instrument; when
+beauty of tone-quality and perfect virtuosity were the only ends for
+which to strive. This period was at its height with Farinelli,
+Caffarelli, Gizziello, and ended perhaps with Crescentini. That these
+singers possessed extraordinary technical skill, or execution, is
+amply attested by the exercises and airs, still extant, written for
+them by Porpora, Hasse, Veracini, and others. That they also had
+musical sentiment or expression, is authoritatively proved from the
+emotion caused in their auditors by their performance of a slow
+movement or <i>cantabile</i>. But it was musical expression only, and as if
+performed on a solo instrument, as a flute or violin, which does not
+possess the faculty of uttering words. The operas in which these
+singers appeared had some plot or story, it is true; but its
+importance was of the slightest&#8212;analogous to, and of the same value
+as, the subject in painting and sculpture at corresponding periods of
+their history.</p>
+
+<p>But singing, like these two sister-arts, has passed the period when it
+was, or could be, appreciated purely for the perfection of its
+technique. It has developed and broadened in other directions, and
+more now is demanded of the singer than mere mechanical perfection.
+Composers&#8212;notably Gluck&#8212;began to perceive the great possibilities to
+be attained by the development of the Greek lyric ideal; that is, the
+presentation of the Poetic idea by, and through the medium of, music;
+instead of being, as formerly, merely its excuse, a framework for the
+musician upon which to hang melodies.<span class="pagenum"><a name="Page_100" id="Page_100">[Pg&#160;100]</a></span></p>
+
+<p>Although Gluck, like all innovators, was considered by his
+contemporaries as a revolutionary and iconoclast, he only strove to
+develop and perfect an art that had already existed in a primitive
+form. This was the art of animating a poetic idea by means of
+melop&#339;ia; which Wagner later developed still further.</p>
+
+<hr style="width: 45%;" />
+
+<p>Gradually, two essentials of good singing&#8212;tone-quality and truth of
+intonation&#8212;began to be neglected. But why should either of these two
+factors be less essential to a singer than to an instrumentalist?</p>
+
+<p>Of late it has been tacitly assumed, if not boldly claimed, that
+sentiment, passion, temperament, atoned for&#8212;even if they did not
+entirely replace&#8212;voice and lack of skill in the artist. But what
+constitutes an artist? Art has been defined by an English
+lexicographer as &#8220;Doing something, the power for which is acquired by
+experience, study or observation;&#8221; and an artist, as &#8220;One skilled in
+the practice of any art.&#8221; The French writer d&#8217;Alembert says, &#8220;<i>L&#8217;art
+s&#8217;acquiert par l&#8217;&#233;tude et l&#8217;exercice</i>&#8221; (Art is acquired by study and
+practice). If these definitions of art be accepted, its external
+expression or manifestation is essential through some vehicle or
+medium, otherwise there is neither art nor artist. Concepts or ideals
+have their genesis in mind, but were they to remain there, the poet,
+painter, sculptor or musician (composer or interpreter) would have no
+right to the title of artist, because his concepts remained in
+thought-form only, and unexpressed.<span class="pagenum"><a name="Page_101" id="Page_101">[Pg&#160;101]</a></span> Therefore, as a composer can be
+accepted as artist only when he has given that to the world which
+entitles him to the distinction, how can his so-called interpreter be
+considered an artist when, through insufficiency of technical ability,
+he is unable to present satisfactorily the author&#8217;s concept? No matter
+in what abundant measure such a performer may possess the good
+qualities of earnestness, conviction and sincerity, he is not an
+artist. &#8220;<i>Poeta nascitur, non fit</i>,&#8221; has long been accepted as a
+truism; and similarly, it is supposed that the artist also is born,
+not made. But seeing that the mechanical side of any art is learned by
+experience, study, or observation&#8212;still to quote the
+definition&#8212;without which an adequate manifestation of that art is
+impossible, then certainly the artist is made. He is born with certain
+qualities necessary for the artist, it is true; but failing his
+technical skill, these other gifts can never be fully utilized.</p>
+
+<p>It is to be deplored that the studies of many vocal aspirants are not
+conducted on the same plan that is followed by those who desire to
+attain perfection on a musical instrument. These acquire a technique,
+and learn or study many works which may broaden or perfect their
+style, before commencing to prepare a r&#233;pertoire. The opposite course
+is followed by many students of singing, who study r&#244;les, instead of
+learning first how to sing. The full meaning of the highest examples
+of the modern lyric drama can be made apparent only by those who have
+fully mastered the vocal, as well as the mimetic, side of lyric art.
+Too much<span class="pagenum"><a name="Page_102" id="Page_102">[Pg&#160;102]</a></span> importance is, in my opinion, attached to the latter branch,
+at the cost of the former. I repeat, an opera-singer should be a
+singer who acts, not an actor who sings.</p>
+
+<hr style="width: 45%;" />
+
+<p>On the occasion of the bestowal of awards at the Paris Conservatoire
+in August, 1905, M. Dujardin-Beaumetz, Under-Secretary for the Fine
+Arts, in his address to the students made pointed allusion to the
+difference of results between the instrumental classes and those for
+singing. Said the orator: &#8220;It is claimed that singing is in a state of
+decadence, and that the cause is largely due to the style of modern
+music. It is rather owing to the fact that this art is not studied at
+present with the same methodic diligence that formerly obtained. I
+would remind the students of singing that they gain nothing by
+neglecting the earlier studies, and that their professional future
+would be better assured if it rested on a solid basis of vocal
+technique. It is, therefore, in their interest that, with a view to
+assure this important point, certain reforms will be instituted.&#8221;<a name="FNanchor_6_6" id="FNanchor_6_6"></a><a href="#Footnote_6_6" class="fnanchor">[6]</a></p>
+
+<p>The professors of the classes for singing were also advised to draw
+more on the great classic writers for the voice, instead of confining
+themselves principally to the operatic r&#233;pertoire.<span class="pagenum"><a name="Page_103" id="Page_103">[Pg&#160;103]</a></span></p>
+
+<p>Every art reaches its apex of perfection, and then seems to decline;
+it may even temporarily disappear. But, being immortal, it is never
+lost. It finds other modes of manifestation, and reappears in other
+forms. The principles on which it is founded do not change; but
+constantly changing conditions necessitate a new application of these
+principles. This necessity was acknowledged for poetry itself by Andr&#233;
+Ch&#233;nier:</p>
+
+<p>&#8220;<i>Sur des pens&#233;es nouveaux, faisons des vers antiques.</i>&#8221; (Let us
+embody modern thoughts in classic verse.)</p>
+
+<p>Music follows the great laws of development to which all things are
+subject. It would be foolish, nay, impossible, to try to resuscitate
+an old form of art. Foolish, because the art itself would have lost
+all except its archaic charm or interest; impossible, because
+conditions have so completely changed that the attempt would be merely
+the galvanizing of a corpse, not its reanimation.</p>
+
+<p>Similarly, the art of singing can be successful only in proportion as
+it recognizes the existence of other conditions. These it meets by
+observing the old principles, but changing their mode of application.</p>
+
+<p>The education of the singer of to-day requires to be conducted on
+broader and more comprehensive lines than in the past, on account of
+the different conditions which have presented themselves.
+Singing&#8212;that is, the alliance and utterance of Music and Poetry&#8212;is
+one of the highest manifestations of the Beautiful, and is man&#8217;s
+supreme and greatest creation. Therefore, singing will not seek in
+future to rival a mechanical instru<span class="pagenum"><a name="Page_104" id="Page_104">[Pg&#160;104]</a></span>ment. It will, it is evident, give
+to the poetic idea a prominent, though not a predominant, place. But
+this poetic idea can be revealed to the listener only by a singer who
+is master of all the technical phases of his art. These component
+parts of his vocal education must of necessity comprise&#8212;as was laid
+down in the <a href="#CHAPTER_I">opening chapter</a> of this work&#8212;Pose of Voice, Technique,
+Style, and R&#233;pertoire.</p>
+
+<p>It has been demonstrated that the first of these elements is
+essential, because the other stones of the complete structure cannot
+be successfully laid on an insecure foundation. The singer must have
+the second, or he will be unable to materialize his concept, like an
+unskilled carver who possesses the necessary material and tools, but
+lacks the technical ability to utilize either. He must possess Colour,
+whereby his vocal palette is set with the varied tints necessary for
+the different sentiments to be expressed; Accent, so that character
+may be given to the music and appropriate emphasis to the text; and
+Phrasing, in order that he may punctuate the music effectively and the
+words intelligently.</p>
+
+<p>Perfect master of these, he is in possession of all that goes to make
+up Style. And, if these premises be accepted, it must be evident that
+he is in possession of the qualities that were necessary to make
+singers great in the past, and are indispensable to make them great in
+the future.</p>
+
+
+
+<hr style="width: 65%;" />
+<h2>FOOTNOTES</h2>
+
+<div class="footnote"><p><a name="Footnote_1_1" id="Footnote_1_1"></a><a href="#FNanchor_1_1"><span class="label">[1]</span></a> These admirably expressed views illustrate and exemplify
+the principles I laid down in a <i>conf&#233;rence</i> (Paris, 1902) on
+Voice-Production (<i>Pose de la Voix</i>), wherein I demonstrated the
+possibility of acquiring, by the aid of the resonating cavities, a
+greater sonority, more in conformity with the demands and necessities
+of present-day music.</p></div>
+
+<div class="footnote"><p><a name="Footnote_2_2" id="Footnote_2_2"></a><a href="#FNanchor_2_2"><span class="label">[2]</span></a> Sir George Grove, in the &#8220;Dictionary of Music and
+Musicians,&#8221; P. 611, says that the French text is by <i>Moli&#232;re</i>! This is
+a self-evident error.</p></div>
+
+<div class="footnote"><p><a name="Footnote_3_3" id="Footnote_3_3"></a><a href="#FNanchor_3_3"><span class="label">[3]</span></a> See very interesting article signed C. Saint-Sa&#235;ns in the
+<i>&#201;cho de Paris</i> for July 23, 1911.</p></div>
+
+<div class="footnote"><p><a name="Footnote_4_4" id="Footnote_4_4"></a><a href="#FNanchor_4_4"><span class="label">[4]</span></a> See <i>&#201;cho de Paris</i>, <i>op. cit.</i></p></div>
+
+<div class="footnote"><p><a name="Footnote_5_5" id="Footnote_5_5"></a><a href="#FNanchor_5_5"><span class="label">[5]</span></a> Cases are numerous of changes made by composers even
+after their work has been produced. The Fountain Scene in <i>Lucia</i> was
+entirely remodelled by Donizetti, some time after its original
+production at Milan, the first setting being replaced by the &#8220;Regnava
+nel silenzio&#8221; now used, written for Persiani when the opera was first
+given at the San Carlo, Naples.</p></div>
+
+<div class="footnote"><p><a name="Footnote_6_6" id="Footnote_6_6"></a><a href="#FNanchor_6_6"><span class="label">[6]</span></a> One of these reforms was that the first year&#8217;s study is
+to be devoted entirely to tone-formation; no attention being paid to
+the employment of the tones in melody. Nor are the professors of
+singing at the Conservatoire now selected&#8212;as was formerly the
+case&#8212;exclusively from among ex-opera-singers.</p></div>
+
+
+
+
+
+
+
+
+
+<pre>
+
+
+
+
+
+End of the Project Gutenberg EBook of Style in Singing, by W. E. Haslam
+
+*** END OF THIS PROJECT GUTENBERG EBOOK STYLE IN SINGING ***
+
+***** This file should be named 21400-h.htm or 21400-h.zip *****
+This and all associated files of various formats will be found in:
+        http://www.gutenberg.org/2/1/4/0/21400/
+
+Produced by David Newman, Chuck Greif, Linda Cantoni, and
+the Online Distributed Proofreading Team at
+http://www.pgdp.net
+
+
+Updated editions will replace the previous one--the old editions
+will be renamed.
+
+Creating the works from public domain print editions means that no
+one owns a United States copyright in these works, so the Foundation
+(and you!) can copy and distribute it in the United States without
+permission and without paying copyright royalties.  Special rules,
+set forth in the General Terms of Use part of this license, apply to
+copying and distributing Project Gutenberg-tm electronic works to
+protect the PROJECT GUTENBERG-tm concept and trademark.  Project
+Gutenberg is a registered trademark, and may not be used if you
+charge for the eBooks, unless you receive specific permission.  If you
+do not charge anything for copies of this eBook, complying with the
+rules is very easy.  You may use this eBook for nearly any purpose
+such as creation of derivative works, reports, performances and
+research.  They may be modified and printed and given away--you may do
+practically ANYTHING with public domain eBooks.  Redistribution is
+subject to the trademark license, especially commercial
+redistribution.
+
+
+
+*** START: FULL LICENSE ***
+
+THE FULL PROJECT GUTENBERG LICENSE
+PLEASE READ THIS BEFORE YOU DISTRIBUTE OR USE THIS WORK
+
+To protect the Project Gutenberg-tm mission of promoting the free
+distribution of electronic works, by using or distributing this work
+(or any other work associated in any way with the phrase "Project
+Gutenberg"), you agree to comply with all the terms of the Full Project
+Gutenberg-tm License (available with this file or online at
+http://gutenberg.org/license).
+
+
+Section 1.  General Terms of Use and Redistributing Project Gutenberg-tm
+electronic works
+
+1.A.  By reading or using any part of this Project Gutenberg-tm
+electronic work, you indicate that you have read, understand, agree to
+and accept all the terms of this license and intellectual property
+(trademark/copyright) agreement.  If you do not agree to abide by all
+the terms of this agreement, you must cease using and return or destroy
+all copies of Project Gutenberg-tm electronic works in your possession.
+If you paid a fee for obtaining a copy of or access to a Project
+Gutenberg-tm electronic work and you do not agree to be bound by the
+terms of this agreement, you may obtain a refund from the person or
+entity to whom you paid the fee as set forth in paragraph 1.E.8.
+
+1.B.  "Project Gutenberg" is a registered trademark.  It may only be
+used on or associated in any way with an electronic work by people who
+agree to be bound by the terms of this agreement.  There are a few
+things that you can do with most Project Gutenberg-tm electronic works
+even without complying with the full terms of this agreement.  See
+paragraph 1.C below.  There are a lot of things you can do with Project
+Gutenberg-tm electronic works if you follow the terms of this agreement
+and help preserve free future access to Project Gutenberg-tm electronic
+works.  See paragraph 1.E below.
+
+1.C.  The Project Gutenberg Literary Archive Foundation ("the Foundation"
+or PGLAF), owns a compilation copyright in the collection of Project
+Gutenberg-tm electronic works.  Nearly all the individual works in the
+collection are in the public domain in the United States.  If an
+individual work is in the public domain in the United States and you are
+located in the United States, we do not claim a right to prevent you from
+copying, distributing, performing, displaying or creating derivative
+works based on the work as long as all references to Project Gutenberg
+are removed.  Of course, we hope that you will support the Project
+Gutenberg-tm mission of promoting free access to electronic works by
+freely sharing Project Gutenberg-tm works in compliance with the terms of
+this agreement for keeping the Project Gutenberg-tm name associated with
+the work.  You can easily comply with the terms of this agreement by
+keeping this work in the same format with its attached full Project
+Gutenberg-tm License when you share it without charge with others.
+
+1.D.  The copyright laws of the place where you are located also govern
+what you can do with this work.  Copyright laws in most countries are in
+a constant state of change.  If you are outside the United States, check
+the laws of your country in addition to the terms of this agreement
+before downloading, copying, displaying, performing, distributing or
+creating derivative works based on this work or any other Project
+Gutenberg-tm work.  The Foundation makes no representations concerning
+the copyright status of any work in any country outside the United
+States.
+
+1.E.  Unless you have removed all references to Project Gutenberg:
+
+1.E.1.  The following sentence, with active links to, or other immediate
+access to, the full Project Gutenberg-tm License must appear prominently
+whenever any copy of a Project Gutenberg-tm work (any work on which the
+phrase "Project Gutenberg" appears, or with which the phrase "Project
+Gutenberg" is associated) is accessed, displayed, performed, viewed,
+copied or distributed:
+
+This eBook is for the use of anyone anywhere at no cost and with
+almost no restrictions whatsoever.  You may copy it, give it away or
+re-use it under the terms of the Project Gutenberg License included
+with this eBook or online at www.gutenberg.org
+
+1.E.2.  If an individual Project Gutenberg-tm electronic work is derived
+from the public domain (does not contain a notice indicating that it is
+posted with permission of the copyright holder), the work can be copied
+and distributed to anyone in the United States without paying any fees
+or charges.  If you are redistributing or providing access to a work
+with the phrase "Project Gutenberg" associated with or appearing on the
+work, you must comply either with the requirements of paragraphs 1.E.1
+through 1.E.7 or obtain permission for the use of the work and the
+Project Gutenberg-tm trademark as set forth in paragraphs 1.E.8 or
+1.E.9.
+
+1.E.3.  If an individual Project Gutenberg-tm electronic work is posted
+with the permission of the copyright holder, your use and distribution
+must comply with both paragraphs 1.E.1 through 1.E.7 and any additional
+terms imposed by the copyright holder.  Additional terms will be linked
+to the Project Gutenberg-tm License for all works posted with the
+permission of the copyright holder found at the beginning of this work.
+
+1.E.4.  Do not unlink or detach or remove the full Project Gutenberg-tm
+License terms from this work, or any files containing a part of this
+work or any other work associated with Project Gutenberg-tm.
+
+1.E.5.  Do not copy, display, perform, distribute or redistribute this
+electronic work, or any part of this electronic work, without
+prominently displaying the sentence set forth in paragraph 1.E.1 with
+active links or immediate access to the full terms of the Project
+Gutenberg-tm License.
+
+1.E.6.  You may convert to and distribute this work in any binary,
+compressed, marked up, nonproprietary or proprietary form, including any
+word processing or hypertext form.  However, if you provide access to or
+distribute copies of a Project Gutenberg-tm work in a format other than
+"Plain Vanilla ASCII" or other format used in the official version
+posted on the official Project Gutenberg-tm web site (www.gutenberg.org),
+you must, at no additional cost, fee or expense to the user, provide a
+copy, a means of exporting a copy, or a means of obtaining a copy upon
+request, of the work in its original "Plain Vanilla ASCII" or other
+form.  Any alternate format must include the full Project Gutenberg-tm
+License as specified in paragraph 1.E.1.
+
+1.E.7.  Do not charge a fee for access to, viewing, displaying,
+performing, copying or distributing any Project Gutenberg-tm works
+unless you comply with paragraph 1.E.8 or 1.E.9.
+
+1.E.8.  You may charge a reasonable fee for copies of or providing
+access to or distributing Project Gutenberg-tm electronic works provided
+that
+
+- You pay a royalty fee of 20% of the gross profits you derive from
+     the use of Project Gutenberg-tm works calculated using the method
+     you already use to calculate your applicable taxes.  The fee is
+     owed to the owner of the Project Gutenberg-tm trademark, but he
+     has agreed to donate royalties under this paragraph to the
+     Project Gutenberg Literary Archive Foundation.  Royalty payments
+     must be paid within 60 days following each date on which you
+     prepare (or are legally required to prepare) your periodic tax
+     returns.  Royalty payments should be clearly marked as such and
+     sent to the Project Gutenberg Literary Archive Foundation at the
+     address specified in Section 4, "Information about donations to
+     the Project Gutenberg Literary Archive Foundation."
+
+- You provide a full refund of any money paid by a user who notifies
+     you in writing (or by e-mail) within 30 days of receipt that s/he
+     does not agree to the terms of the full Project Gutenberg-tm
+     License.  You must require such a user to return or
+     destroy all copies of the works possessed in a physical medium
+     and discontinue all use of and all access to other copies of
+     Project Gutenberg-tm works.
+
+- You provide, in accordance with paragraph 1.F.3, a full refund of any
+     money paid for a work or a replacement copy, if a defect in the
+     electronic work is discovered and reported to you within 90 days
+     of receipt of the work.
+
+- You comply with all other terms of this agreement for free
+     distribution of Project Gutenberg-tm works.
+
+1.E.9.  If you wish to charge a fee or distribute a Project Gutenberg-tm
+electronic work or group of works on different terms than are set
+forth in this agreement, you must obtain permission in writing from
+both the Project Gutenberg Literary Archive Foundation and Michael
+Hart, the owner of the Project Gutenberg-tm trademark.  Contact the
+Foundation as set forth in Section 3 below.
+
+1.F.
+
+1.F.1.  Project Gutenberg volunteers and employees expend considerable
+effort to identify, do copyright research on, transcribe and proofread
+public domain works in creating the Project Gutenberg-tm
+collection.  Despite these efforts, Project Gutenberg-tm electronic
+works, and the medium on which they may be stored, may contain
+"Defects," such as, but not limited to, incomplete, inaccurate or
+corrupt data, transcription errors, a copyright or other intellectual
+property infringement, a defective or damaged disk or other medium, a
+computer virus, or computer codes that damage or cannot be read by
+your equipment.
+
+1.F.2.  LIMITED WARRANTY, DISCLAIMER OF DAMAGES - Except for the "Right
+of Replacement or Refund" described in paragraph 1.F.3, the Project
+Gutenberg Literary Archive Foundation, the owner of the Project
+Gutenberg-tm trademark, and any other party distributing a Project
+Gutenberg-tm electronic work under this agreement, disclaim all
+liability to you for damages, costs and expenses, including legal
+fees.  YOU AGREE THAT YOU HAVE NO REMEDIES FOR NEGLIGENCE, STRICT
+LIABILITY, BREACH OF WARRANTY OR BREACH OF CONTRACT EXCEPT THOSE
+PROVIDED IN PARAGRAPH F3.  YOU AGREE THAT THE FOUNDATION, THE
+TRADEMARK OWNER, AND ANY DISTRIBUTOR UNDER THIS AGREEMENT WILL NOT BE
+LIABLE TO YOU FOR ACTUAL, DIRECT, INDIRECT, CONSEQUENTIAL, PUNITIVE OR
+INCIDENTAL DAMAGES EVEN IF YOU GIVE NOTICE OF THE POSSIBILITY OF SUCH
+DAMAGE.
+
+1.F.3.  LIMITED RIGHT OF REPLACEMENT OR REFUND - If you discover a
+defect in this electronic work within 90 days of receiving it, you can
+receive a refund of the money (if any) you paid for it by sending a
+written explanation to the person you received the work from.  If you
+received the work on a physical medium, you must return the medium with
+your written explanation.  The person or entity that provided you with
+the defective work may elect to provide a replacement copy in lieu of a
+refund.  If you received the work electronically, the person or entity
+providing it to you may choose to give you a second opportunity to
+receive the work electronically in lieu of a refund.  If the second copy
+is also defective, you may demand a refund in writing without further
+opportunities to fix the problem.
+
+1.F.4.  Except for the limited right of replacement or refund set forth
+in paragraph 1.F.3, this work is provided to you 'AS-IS' WITH NO OTHER
+WARRANTIES OF ANY KIND, EXPRESS OR IMPLIED, INCLUDING BUT NOT LIMITED TO
+WARRANTIES OF MERCHANTIBILITY OR FITNESS FOR ANY PURPOSE.
+
+1.F.5.  Some states do not allow disclaimers of certain implied
+warranties or the exclusion or limitation of certain types of damages.
+If any disclaimer or limitation set forth in this agreement violates the
+law of the state applicable to this agreement, the agreement shall be
+interpreted to make the maximum disclaimer or limitation permitted by
+the applicable state law.  The invalidity or unenforceability of any
+provision of this agreement shall not void the remaining provisions.
+
+1.F.6.  INDEMNITY - You agree to indemnify and hold the Foundation, the
+trademark owner, any agent or employee of the Foundation, anyone
+providing copies of Project Gutenberg-tm electronic works in accordance
+with this agreement, and any volunteers associated with the production,
+promotion and distribution of Project Gutenberg-tm electronic works,
+harmless from all liability, costs and expenses, including legal fees,
+that arise directly or indirectly from any of the following which you do
+or cause to occur: (a) distribution of this or any Project Gutenberg-tm
+work, (b) alteration, modification, or additions or deletions to any
+Project Gutenberg-tm work, and (c) any Defect you cause.
+
+
+Section  2.  Information about the Mission of Project Gutenberg-tm
+
+Project Gutenberg-tm is synonymous with the free distribution of
+electronic works in formats readable by the widest variety of computers
+including obsolete, old, middle-aged and new computers.  It exists
+because of the efforts of hundreds of volunteers and donations from
+people in all walks of life.
+
+Volunteers and financial support to provide volunteers with the
+assistance they need, is critical to reaching Project Gutenberg-tm's
+goals and ensuring that the Project Gutenberg-tm collection will
+remain freely available for generations to come.  In 2001, the Project
+Gutenberg Literary Archive Foundation was created to provide a secure
+and permanent future for Project Gutenberg-tm and future generations.
+To learn more about the Project Gutenberg Literary Archive Foundation
+and how your efforts and donations can help, see Sections 3 and 4
+and the Foundation web page at http://www.pglaf.org.
+
+
+Section 3.  Information about the Project Gutenberg Literary Archive
+Foundation
+
+The Project Gutenberg Literary Archive Foundation is a non profit
+501(c)(3) educational corporation organized under the laws of the
+state of Mississippi and granted tax exempt status by the Internal
+Revenue Service.  The Foundation's EIN or federal tax identification
+number is 64-6221541.  Its 501(c)(3) letter is posted at
+http://pglaf.org/fundraising.  Contributions to the Project Gutenberg
+Literary Archive Foundation are tax deductible to the full extent
+permitted by U.S. federal laws and your state's laws.
+
+The Foundation's principal office is located at 4557 Melan Dr. S.
+Fairbanks, AK, 99712., but its volunteers and employees are scattered
+throughout numerous locations.  Its business office is located at
+809 North 1500 West, Salt Lake City, UT 84116, (801) 596-1887, email
+business@pglaf.org.  Email contact links and up to date contact
+information can be found at the Foundation's web site and official
+page at http://pglaf.org
+
+For additional contact information:
+     Dr. Gregory B. Newby
+     Chief Executive and Director
+     gbnewby@pglaf.org
+
+
+Section 4.  Information about Donations to the Project Gutenberg
+Literary Archive Foundation
+
+Project Gutenberg-tm depends upon and cannot survive without wide
+spread public support and donations to carry out its mission of
+increasing the number of public domain and licensed works that can be
+freely distributed in machine readable form accessible by the widest
+array of equipment including outdated equipment.  Many small donations
+($1 to $5,000) are particularly important to maintaining tax exempt
+status with the IRS.
+
+The Foundation is committed to complying with the laws regulating
+charities and charitable donations in all 50 states of the United
+States.  Compliance requirements are not uniform and it takes a
+considerable effort, much paperwork and many fees to meet and keep up
+with these requirements.  We do not solicit donations in locations
+where we have not received written confirmation of compliance.  To
+SEND DONATIONS or determine the status of compliance for any
+particular state visit http://pglaf.org
+
+While we cannot and do not solicit contributions from states where we
+have not met the solicitation requirements, we know of no prohibition
+against accepting unsolicited donations from donors in such states who
+approach us with offers to donate.
+
+International donations are gratefully accepted, but we cannot make
+any statements concerning tax treatment of donations received from
+outside the United States.  U.S. laws alone swamp our small staff.
+
+Please check the Project Gutenberg Web pages for current donation
+methods and addresses.  Donations are accepted in a number of other
+ways including checks, online payments and credit card donations.
+To donate, please visit: http://pglaf.org/donate
+
+
+Section 5.  General Information About Project Gutenberg-tm electronic
+works.
+
+Professor Michael S. Hart is the originator of the Project Gutenberg-tm
+concept of a library of electronic works that could be freely shared
+with anyone.  For thirty years, he produced and distributed Project
+Gutenberg-tm eBooks with only a loose network of volunteer support.
+
+
+Project Gutenberg-tm eBooks are often created from several printed
+editions, all of which are confirmed as Public Domain in the U.S.
+unless a copyright notice is included.  Thus, we do not necessarily
+keep eBooks in compliance with any particular paper edition.
+
+
+Most people start at our Web site which has the main PG search facility:
+
+     http://www.gutenberg.org
+
+This Web site includes information about Project Gutenberg-tm,
+including how to make donations to the Project Gutenberg Literary
+Archive Foundation, how to help produce our new eBooks, and how to
+subscribe to our email newsletter to hear about new eBooks.
+
+
+</pre>
+
+</body>
+</html>
diff --git a/21400-h/images/accent.png b/21400-h/images/accent.png
new file mode 100644
index 0000000..8f05bde
--- /dev/null
+++ b/21400-h/images/accent.png
diff --git a/21400-h/images/crescendo.jpg b/21400-h/images/crescendo.jpg
new file mode 100644
index 0000000..3b76a0a
--- /dev/null
+++ b/21400-h/images/crescendo.jpg
diff --git a/21400-h/images/decrescendo.jpg b/21400-h/images/decrescendo.jpg
new file mode 100644
index 0000000..9d28fa7
--- /dev/null
+++ b/21400-h/images/decrescendo.jpg
diff --git a/21400-h/images/fermata.png b/21400-h/images/fermata.png
new file mode 100644
index 0000000..0fe6fbe
--- /dev/null
+++ b/21400-h/images/fermata.png
diff --git a/21400-h/images/music01.png b/21400-h/images/music01.png
new file mode 100644
index 0000000..80ae45c
--- /dev/null
+++ b/21400-h/images/music01.png
diff --git a/21400-h/images/music02.png b/21400-h/images/music02.png
new file mode 100644
index 0000000..4bc83f2
--- /dev/null
+++ b/21400-h/images/music02.png
diff --git a/21400-h/images/music03.png b/21400-h/images/music03.png
new file mode 100644
index 0000000..2a0babd
--- /dev/null
+++ b/21400-h/images/music03.png
diff --git a/21400-h/images/music04.png b/21400-h/images/music04.png
new file mode 100644
index 0000000..db05eee
--- /dev/null
+++ b/21400-h/images/music04.png
diff --git a/21400-h/images/music05.png b/21400-h/images/music05.png
new file mode 100644
index 0000000..d1f39ae
--- /dev/null
+++ b/21400-h/images/music05.png
diff --git a/21400-h/images/music06.png b/21400-h/images/music06.png
new file mode 100644
index 0000000..b5500c4
--- /dev/null
+++ b/21400-h/images/music06.png
diff --git a/21400-h/images/music07.png b/21400-h/images/music07.png
new file mode 100644
index 0000000..067f0a0
--- /dev/null
+++ b/21400-h/images/music07.png
diff --git a/21400-h/images/music08.png b/21400-h/images/music08.png
new file mode 100644
index 0000000..c3e75bf
--- /dev/null
+++ b/21400-h/images/music08.png
diff --git a/21400-h/images/music09.png b/21400-h/images/music09.png
new file mode 100644
index 0000000..180e37f
--- /dev/null
+++ b/21400-h/images/music09.png
diff --git a/21400-h/images/music10.png b/21400-h/images/music10.png
new file mode 100644
index 0000000..744b084
--- /dev/null
+++ b/21400-h/images/music10.png
diff --git a/21400-h/images/music100.png b/21400-h/images/music100.png
new file mode 100644
index 0000000..d68cea2
--- /dev/null
+++ b/21400-h/images/music100.png
diff --git a/21400-h/images/music101.png b/21400-h/images/music101.png
new file mode 100644
index 0000000..31a6da0
--- /dev/null
+++ b/21400-h/images/music101.png
diff --git a/21400-h/images/music102.png b/21400-h/images/music102.png
new file mode 100644
index 0000000..673c7ae
--- /dev/null
+++ b/21400-h/images/music102.png
diff --git a/21400-h/images/music103.png b/21400-h/images/music103.png
new file mode 100644
index 0000000..0dfab2b
--- /dev/null
+++ b/21400-h/images/music103.png
diff --git a/21400-h/images/music104.png b/21400-h/images/music104.png
new file mode 100644
index 0000000..90db676
--- /dev/null
+++ b/21400-h/images/music104.png
diff --git a/21400-h/images/music105.png b/21400-h/images/music105.png
new file mode 100644
index 0000000..08bba1a
--- /dev/null
+++ b/21400-h/images/music105.png
diff --git a/21400-h/images/music106.png b/21400-h/images/music106.png
new file mode 100644
index 0000000..8793ad2
--- /dev/null
+++ b/21400-h/images/music106.png
diff --git a/21400-h/images/music107.png b/21400-h/images/music107.png
new file mode 100644
index 0000000..4fe4452
--- /dev/null
+++ b/21400-h/images/music107.png
diff --git a/21400-h/images/music11.png b/21400-h/images/music11.png
new file mode 100644
index 0000000..0b9f5e1
--- /dev/null
+++ b/21400-h/images/music11.png
diff --git a/21400-h/images/music12.png b/21400-h/images/music12.png
new file mode 100644
index 0000000..abfa984
--- /dev/null
+++ b/21400-h/images/music12.png
diff --git a/21400-h/images/music13.png b/21400-h/images/music13.png
new file mode 100644
index 0000000..b907c8d
--- /dev/null
+++ b/21400-h/images/music13.png
diff --git a/21400-h/images/music14.png b/21400-h/images/music14.png
new file mode 100644
index 0000000..c6a9a21
--- /dev/null
+++ b/21400-h/images/music14.png
diff --git a/21400-h/images/music15.png b/21400-h/images/music15.png
new file mode 100644
index 0000000..16f54d1
--- /dev/null
+++ b/21400-h/images/music15.png
diff --git a/21400-h/images/music16.png b/21400-h/images/music16.png
new file mode 100644
index 0000000..f10264d
--- /dev/null
+++ b/21400-h/images/music16.png
diff --git a/21400-h/images/music17.png b/21400-h/images/music17.png
new file mode 100644
index 0000000..6bcaf3f
--- /dev/null
+++ b/21400-h/images/music17.png
diff --git a/21400-h/images/music18.png b/21400-h/images/music18.png
new file mode 100644
index 0000000..7e6066f
--- /dev/null
+++ b/21400-h/images/music18.png
diff --git a/21400-h/images/music19.png b/21400-h/images/music19.png
new file mode 100644
index 0000000..2456bdb
--- /dev/null
+++ b/21400-h/images/music19.png
diff --git a/21400-h/images/music20.png b/21400-h/images/music20.png
new file mode 100644
index 0000000..48079ab
--- /dev/null
+++ b/21400-h/images/music20.png
diff --git a/21400-h/images/music21.png b/21400-h/images/music21.png
new file mode 100644
index 0000000..4e47796
--- /dev/null
+++ b/21400-h/images/music21.png
diff --git a/21400-h/images/music22.png b/21400-h/images/music22.png
new file mode 100644
index 0000000..3e258f5
--- /dev/null
+++ b/21400-h/images/music22.png
diff --git a/21400-h/images/music23.png b/21400-h/images/music23.png
new file mode 100644
index 0000000..b9fc517
--- /dev/null
+++ b/21400-h/images/music23.png
diff --git a/21400-h/images/music24.png b/21400-h/images/music24.png
new file mode 100644
index 0000000..3b1b122
--- /dev/null
+++ b/21400-h/images/music24.png
diff --git a/21400-h/images/music25.png b/21400-h/images/music25.png
new file mode 100644
index 0000000..59fdcc0
--- /dev/null
+++ b/21400-h/images/music25.png
diff --git a/21400-h/images/music26.png b/21400-h/images/music26.png
new file mode 100644
index 0000000..38c4fbd
--- /dev/null
+++ b/21400-h/images/music26.png
diff --git a/21400-h/images/music27.png b/21400-h/images/music27.png
new file mode 100644
index 0000000..01f9bc7
--- /dev/null
+++ b/21400-h/images/music27.png
diff --git a/21400-h/images/music28.png b/21400-h/images/music28.png
new file mode 100644
index 0000000..eb7a597
--- /dev/null
+++ b/21400-h/images/music28.png
diff --git a/21400-h/images/music29.png b/21400-h/images/music29.png
new file mode 100644
index 0000000..97e83aa
--- /dev/null
+++ b/21400-h/images/music29.png
diff --git a/21400-h/images/music30.png b/21400-h/images/music30.png
new file mode 100644
index 0000000..6003667
--- /dev/null
+++ b/21400-h/images/music30.png
diff --git a/21400-h/images/music31.png b/21400-h/images/music31.png
new file mode 100644
index 0000000..4cfdf3e
--- /dev/null
+++ b/21400-h/images/music31.png
diff --git a/21400-h/images/music32.png b/21400-h/images/music32.png
new file mode 100644
index 0000000..c4e9f78
--- /dev/null
+++ b/21400-h/images/music32.png
diff --git a/21400-h/images/music33.png b/21400-h/images/music33.png
new file mode 100644
index 0000000..ed8d2ff
--- /dev/null
+++ b/21400-h/images/music33.png
diff --git a/21400-h/images/music34.png b/21400-h/images/music34.png
new file mode 100644
index 0000000..a001806
--- /dev/null
+++ b/21400-h/images/music34.png
diff --git a/21400-h/images/music35.png b/21400-h/images/music35.png
new file mode 100644
index 0000000..650cece
--- /dev/null
+++ b/21400-h/images/music35.png
diff --git a/21400-h/images/music36.png b/21400-h/images/music36.png
new file mode 100644
index 0000000..0a5bb39
--- /dev/null
+++ b/21400-h/images/music36.png
diff --git a/21400-h/images/music37.png b/21400-h/images/music37.png
new file mode 100644
index 0000000..0029f95
--- /dev/null
+++ b/21400-h/images/music37.png
diff --git a/21400-h/images/music38.png b/21400-h/images/music38.png
new file mode 100644
index 0000000..63aafcf
--- /dev/null
+++ b/21400-h/images/music38.png
diff --git a/21400-h/images/music39.png b/21400-h/images/music39.png
new file mode 100644
index 0000000..6d0549b
--- /dev/null
+++ b/21400-h/images/music39.png
diff --git a/21400-h/images/music40.png b/21400-h/images/music40.png
new file mode 100644
index 0000000..6ef1465
--- /dev/null
+++ b/21400-h/images/music40.png
diff --git a/21400-h/images/music41.png b/21400-h/images/music41.png
new file mode 100644
index 0000000..3dc909e
--- /dev/null
+++ b/21400-h/images/music41.png
diff --git a/21400-h/images/music42.png b/21400-h/images/music42.png
new file mode 100644
index 0000000..f1b4310
--- /dev/null
+++ b/21400-h/images/music42.png
diff --git a/21400-h/images/music43.png b/21400-h/images/music43.png
new file mode 100644
index 0000000..9aee64f
--- /dev/null
+++ b/21400-h/images/music43.png
diff --git a/21400-h/images/music44.png b/21400-h/images/music44.png
new file mode 100644
index 0000000..50a174d
--- /dev/null
+++ b/21400-h/images/music44.png
diff --git a/21400-h/images/music45.png b/21400-h/images/music45.png
new file mode 100644
index 0000000..254b9c7
--- /dev/null
+++ b/21400-h/images/music45.png
diff --git a/21400-h/images/music46.png b/21400-h/images/music46.png
new file mode 100644
index 0000000..9796725
--- /dev/null
+++ b/21400-h/images/music46.png
diff --git a/21400-h/images/music47.png b/21400-h/images/music47.png
new file mode 100644
index 0000000..a070202
--- /dev/null
+++ b/21400-h/images/music47.png
diff --git a/21400-h/images/music48.png b/21400-h/images/music48.png
new file mode 100644
index 0000000..f51bf8e
--- /dev/null
+++ b/21400-h/images/music48.png
diff --git a/21400-h/images/music49.png b/21400-h/images/music49.png
new file mode 100644
index 0000000..4b26882
--- /dev/null
+++ b/21400-h/images/music49.png
diff --git a/21400-h/images/music50.png b/21400-h/images/music50.png
new file mode 100644
index 0000000..4de1055
--- /dev/null
+++ b/21400-h/images/music50.png
diff --git a/21400-h/images/music51.png b/21400-h/images/music51.png
new file mode 100644
index 0000000..839a42f
--- /dev/null
+++ b/21400-h/images/music51.png
diff --git a/21400-h/images/music52.png b/21400-h/images/music52.png
new file mode 100644
index 0000000..f21b210
--- /dev/null
+++ b/21400-h/images/music52.png
diff --git a/21400-h/images/music53.png b/21400-h/images/music53.png
new file mode 100644
index 0000000..b32f2b4
--- /dev/null
+++ b/21400-h/images/music53.png
diff --git a/21400-h/images/music54.png b/21400-h/images/music54.png
new file mode 100644
index 0000000..dfa2a86
--- /dev/null
+++ b/21400-h/images/music54.png
diff --git a/21400-h/images/music55.png b/21400-h/images/music55.png
new file mode 100644
index 0000000..ceda098
--- /dev/null
+++ b/21400-h/images/music55.png
diff --git a/21400-h/images/music56.png b/21400-h/images/music56.png
new file mode 100644
index 0000000..b7bc586
--- /dev/null
+++ b/21400-h/images/music56.png
diff --git a/21400-h/images/music57.png b/21400-h/images/music57.png
new file mode 100644
index 0000000..6955951
--- /dev/null
+++ b/21400-h/images/music57.png
diff --git a/21400-h/images/music58.png b/21400-h/images/music58.png
new file mode 100644
index 0000000..8598234
--- /dev/null
+++ b/21400-h/images/music58.png
diff --git a/21400-h/images/music59.png b/21400-h/images/music59.png
new file mode 100644
index 0000000..ae881bb
--- /dev/null
+++ b/21400-h/images/music59.png
diff --git a/21400-h/images/music60.png b/21400-h/images/music60.png
new file mode 100644
index 0000000..1167415
--- /dev/null
+++ b/21400-h/images/music60.png
diff --git a/21400-h/images/music61.png b/21400-h/images/music61.png
new file mode 100644
index 0000000..e34edef
--- /dev/null
+++ b/21400-h/images/music61.png
diff --git a/21400-h/images/music62.png b/21400-h/images/music62.png
new file mode 100644
index 0000000..cd0d27e
--- /dev/null
+++ b/21400-h/images/music62.png
diff --git a/21400-h/images/music63.png b/21400-h/images/music63.png
new file mode 100644
index 0000000..e87efbb
--- /dev/null
+++ b/21400-h/images/music63.png
diff --git a/21400-h/images/music64.png b/21400-h/images/music64.png
new file mode 100644
index 0000000..bbad9fe
--- /dev/null
+++ b/21400-h/images/music64.png
diff --git a/21400-h/images/music65.png b/21400-h/images/music65.png
new file mode 100644
index 0000000..f239814
--- /dev/null
+++ b/21400-h/images/music65.png
diff --git a/21400-h/images/music66.png b/21400-h/images/music66.png
new file mode 100644
index 0000000..03aa17e
--- /dev/null
+++ b/21400-h/images/music66.png
diff --git a/21400-h/images/music67.png b/21400-h/images/music67.png
new file mode 100644
index 0000000..dc88332
--- /dev/null
+++ b/21400-h/images/music67.png
diff --git a/21400-h/images/music68.png b/21400-h/images/music68.png
new file mode 100644
index 0000000..6267abc
--- /dev/null
+++ b/21400-h/images/music68.png
diff --git a/21400-h/images/music69.png b/21400-h/images/music69.png
new file mode 100644
index 0000000..244fd68
--- /dev/null
+++ b/21400-h/images/music69.png
diff --git a/21400-h/images/music70.png b/21400-h/images/music70.png
new file mode 100644
index 0000000..29cf224
--- /dev/null
+++ b/21400-h/images/music70.png
diff --git a/21400-h/images/music71.png b/21400-h/images/music71.png
new file mode 100644
index 0000000..eb37e96
--- /dev/null
+++ b/21400-h/images/music71.png
diff --git a/21400-h/images/music72.png b/21400-h/images/music72.png
new file mode 100644
index 0000000..a5b542d
--- /dev/null
+++ b/21400-h/images/music72.png
diff --git a/21400-h/images/music73.png b/21400-h/images/music73.png
new file mode 100644
index 0000000..4669b40
--- /dev/null
+++ b/21400-h/images/music73.png
diff --git a/21400-h/images/music74.png b/21400-h/images/music74.png
new file mode 100644
index 0000000..b9e48db
--- /dev/null
+++ b/21400-h/images/music74.png
diff --git a/21400-h/images/music75.png b/21400-h/images/music75.png
new file mode 100644
index 0000000..6de12bc
--- /dev/null
+++ b/21400-h/images/music75.png
diff --git a/21400-h/images/music76.png b/21400-h/images/music76.png
new file mode 100644
index 0000000..2131d49
--- /dev/null
+++ b/21400-h/images/music76.png
diff --git a/21400-h/images/music77.png b/21400-h/images/music77.png
new file mode 100644
index 0000000..10a22de
--- /dev/null
+++ b/21400-h/images/music77.png
diff --git a/21400-h/images/music78.png b/21400-h/images/music78.png
new file mode 100644
index 0000000..7938c1d
--- /dev/null
+++ b/21400-h/images/music78.png
diff --git a/21400-h/images/music79.png b/21400-h/images/music79.png
new file mode 100644
index 0000000..3fe5056
--- /dev/null
+++ b/21400-h/images/music79.png
diff --git a/21400-h/images/music80.png b/21400-h/images/music80.png
new file mode 100644
index 0000000..de525d8
--- /dev/null
+++ b/21400-h/images/music80.png
diff --git a/21400-h/images/music81.png b/21400-h/images/music81.png
new file mode 100644
index 0000000..e9bc4fa
--- /dev/null
+++ b/21400-h/images/music81.png
diff --git a/21400-h/images/music82.png b/21400-h/images/music82.png
new file mode 100644
index 0000000..edb3fe9
--- /dev/null
+++ b/21400-h/images/music82.png
diff --git a/21400-h/images/music83.png b/21400-h/images/music83.png
new file mode 100644
index 0000000..17589c0
--- /dev/null
+++ b/21400-h/images/music83.png
diff --git a/21400-h/images/music84.png b/21400-h/images/music84.png
new file mode 100644
index 0000000..3a4a7d3
--- /dev/null
+++ b/21400-h/images/music84.png
diff --git a/21400-h/images/music85.png b/21400-h/images/music85.png
new file mode 100644
index 0000000..b7e1b9e
--- /dev/null
+++ b/21400-h/images/music85.png
diff --git a/21400-h/images/music86.png b/21400-h/images/music86.png
new file mode 100644
index 0000000..5044056
--- /dev/null
+++ b/21400-h/images/music86.png
diff --git a/21400-h/images/music87.png b/21400-h/images/music87.png
new file mode 100644
index 0000000..28dd1b1
--- /dev/null
+++ b/21400-h/images/music87.png
diff --git a/21400-h/images/music88.png b/21400-h/images/music88.png
new file mode 100644
index 0000000..f11a7df
--- /dev/null
+++ b/21400-h/images/music88.png
diff --git a/21400-h/images/music89.png b/21400-h/images/music89.png
new file mode 100644
index 0000000..b7d899e
--- /dev/null
+++ b/21400-h/images/music89.png
diff --git a/21400-h/images/music90.png b/21400-h/images/music90.png
new file mode 100644
index 0000000..95b6ec0
--- /dev/null
+++ b/21400-h/images/music90.png
diff --git a/21400-h/images/music91.png b/21400-h/images/music91.png
new file mode 100644
index 0000000..dfd0868
--- /dev/null
+++ b/21400-h/images/music91.png
diff --git a/21400-h/images/music92.png b/21400-h/images/music92.png
new file mode 100644
index 0000000..1f969b6
--- /dev/null
+++ b/21400-h/images/music92.png
diff --git a/21400-h/images/music93.png b/21400-h/images/music93.png
new file mode 100644
index 0000000..7b7bae5
--- /dev/null
+++ b/21400-h/images/music93.png
diff --git a/21400-h/images/music94.png b/21400-h/images/music94.png
new file mode 100644
index 0000000..b415388
--- /dev/null
+++ b/21400-h/images/music94.png
diff --git a/21400-h/images/music95.png b/21400-h/images/music95.png
new file mode 100644
index 0000000..f4ffc37
--- /dev/null
+++ b/21400-h/images/music95.png
diff --git a/21400-h/images/music96.png b/21400-h/images/music96.png
new file mode 100644
index 0000000..bd7a416
--- /dev/null
+++ b/21400-h/images/music96.png
diff --git a/21400-h/images/music97.png b/21400-h/images/music97.png
new file mode 100644
index 0000000..5122375
--- /dev/null
+++ b/21400-h/images/music97.png
diff --git a/21400-h/images/music98.png b/21400-h/images/music98.png
new file mode 100644
index 0000000..cc8e0cb
--- /dev/null
+++ b/21400-h/images/music98.png
diff --git a/21400-h/images/music99.png b/21400-h/images/music99.png
new file mode 100644
index 0000000..b13ec47
--- /dev/null
+++ b/21400-h/images/music99.png
diff --git a/21400-h/images/sombre.png b/21400-h/images/sombre.png
new file mode 100644
index 0000000..489e004
--- /dev/null
+++ b/21400-h/images/sombre.png
diff --git a/21400-h/music/music01.midi b/21400-h/music/music01.midi
new file mode 100644
index 0000000..eb0480c
--- /dev/null
+++ b/21400-h/music/music01.midi
diff --git a/21400-h/music/music02.midi b/21400-h/music/music02.midi
new file mode 100644
index 0000000..d593b06
--- /dev/null
+++ b/21400-h/music/music02.midi
diff --git a/21400-h/music/music03.midi b/21400-h/music/music03.midi
new file mode 100644
index 0000000..e978cd5
--- /dev/null
+++ b/21400-h/music/music03.midi
diff --git a/21400-h/music/music04.midi b/21400-h/music/music04.midi
new file mode 100644
index 0000000..f3d01fd
--- /dev/null
+++ b/21400-h/music/music04.midi
diff --git a/21400-h/music/music05.midi b/21400-h/music/music05.midi
new file mode 100644
index 0000000..48b97ba
--- /dev/null
+++ b/21400-h/music/music05.midi
diff --git a/21400-h/music/music06.midi b/21400-h/music/music06.midi
new file mode 100644
index 0000000..c1bacf4
--- /dev/null
+++ b/21400-h/music/music06.midi
diff --git a/21400-h/music/music07.midi b/21400-h/music/music07.midi
new file mode 100644
index 0000000..8bd2ec7
--- /dev/null
+++ b/21400-h/music/music07.midi
diff --git a/21400-h/music/music08.midi b/21400-h/music/music08.midi
new file mode 100644
index 0000000..4114425
--- /dev/null
+++ b/21400-h/music/music08.midi
diff --git a/21400-h/music/music09.midi b/21400-h/music/music09.midi
new file mode 100644
index 0000000..fa5115f
--- /dev/null
+++ b/21400-h/music/music09.midi
diff --git a/21400-h/music/music10.midi b/21400-h/music/music10.midi
new file mode 100644
index 0000000..740bfab
--- /dev/null
+++ b/21400-h/music/music10.midi
diff --git a/21400-h/music/music100.midi b/21400-h/music/music100.midi
new file mode 100644
index 0000000..20ac932
--- /dev/null
+++ b/21400-h/music/music100.midi
diff --git a/21400-h/music/music101.midi b/21400-h/music/music101.midi
new file mode 100644
index 0000000..538fe62
--- /dev/null
+++ b/21400-h/music/music101.midi
diff --git a/21400-h/music/music102.midi b/21400-h/music/music102.midi
new file mode 100644
index 0000000..fc2f178
--- /dev/null
+++ b/21400-h/music/music102.midi
diff --git a/21400-h/music/music103.midi b/21400-h/music/music103.midi
new file mode 100644
index 0000000..41f26d1
--- /dev/null
+++ b/21400-h/music/music103.midi
diff --git a/21400-h/music/music104.midi b/21400-h/music/music104.midi
new file mode 100644
index 0000000..1629485
--- /dev/null
+++ b/21400-h/music/music104.midi
diff --git a/21400-h/music/music105.midi b/21400-h/music/music105.midi
new file mode 100644
index 0000000..6f58aa8
--- /dev/null
+++ b/21400-h/music/music105.midi
diff --git a/21400-h/music/music106.midi b/21400-h/music/music106.midi
new file mode 100644
index 0000000..9967339
--- /dev/null
+++ b/21400-h/music/music106.midi
diff --git a/21400-h/music/music107.midi b/21400-h/music/music107.midi
new file mode 100644
index 0000000..2473885
--- /dev/null
+++ b/21400-h/music/music107.midi
diff --git a/21400-h/music/music11.midi b/21400-h/music/music11.midi
new file mode 100644
index 0000000..74e9c36
--- /dev/null
+++ b/21400-h/music/music11.midi
diff --git a/21400-h/music/music12.midi b/21400-h/music/music12.midi
new file mode 100644
index 0000000..43f8da0
--- /dev/null
+++ b/21400-h/music/music12.midi
diff --git a/21400-h/music/music13.midi b/21400-h/music/music13.midi
new file mode 100644
index 0000000..b567138
--- /dev/null
+++ b/21400-h/music/music13.midi
diff --git a/21400-h/music/music14.midi b/21400-h/music/music14.midi
new file mode 100644
index 0000000..b994204
--- /dev/null
+++ b/21400-h/music/music14.midi
diff --git a/21400-h/music/music15.midi b/21400-h/music/music15.midi
new file mode 100644
index 0000000..a1dbb8f
--- /dev/null
+++ b/21400-h/music/music15.midi
diff --git a/21400-h/music/music16.midi b/21400-h/music/music16.midi
new file mode 100644
index 0000000..7624633
--- /dev/null
+++ b/21400-h/music/music16.midi
diff --git a/21400-h/music/music17.midi b/21400-h/music/music17.midi
new file mode 100644
index 0000000..3e42c30
--- /dev/null
+++ b/21400-h/music/music17.midi
diff --git a/21400-h/music/music18.midi b/21400-h/music/music18.midi
new file mode 100644
index 0000000..b674220
--- /dev/null
+++ b/21400-h/music/music18.midi
diff --git a/21400-h/music/music19.midi b/21400-h/music/music19.midi
new file mode 100644
index 0000000..783a8dd
--- /dev/null
+++ b/21400-h/music/music19.midi
diff --git a/21400-h/music/music20.midi b/21400-h/music/music20.midi
new file mode 100644
index 0000000..3a68521
--- /dev/null
+++ b/21400-h/music/music20.midi
diff --git a/21400-h/music/music21.midi b/21400-h/music/music21.midi
new file mode 100644
index 0000000..a086a9d
--- /dev/null
+++ b/21400-h/music/music21.midi
diff --git a/21400-h/music/music22.midi b/21400-h/music/music22.midi
new file mode 100644
index 0000000..25960b5
--- /dev/null
+++ b/21400-h/music/music22.midi
diff --git a/21400-h/music/music23.midi b/21400-h/music/music23.midi
new file mode 100644
index 0000000..7da7d7d
--- /dev/null
+++ b/21400-h/music/music23.midi
diff --git a/21400-h/music/music24.midi b/21400-h/music/music24.midi
new file mode 100644
index 0000000..0639e7c
--- /dev/null
+++ b/21400-h/music/music24.midi
diff --git a/21400-h/music/music25.midi b/21400-h/music/music25.midi
new file mode 100644
index 0000000..7d1f625
--- /dev/null
+++ b/21400-h/music/music25.midi
diff --git a/21400-h/music/music26.midi b/21400-h/music/music26.midi
new file mode 100644
index 0000000..7195152
--- /dev/null
+++ b/21400-h/music/music26.midi
diff --git a/21400-h/music/music27.midi b/21400-h/music/music27.midi
new file mode 100644
index 0000000..5b77627
--- /dev/null
+++ b/21400-h/music/music27.midi
diff --git a/21400-h/music/music28.midi b/21400-h/music/music28.midi
new file mode 100644
index 0000000..e4f7dc1
--- /dev/null
+++ b/21400-h/music/music28.midi
diff --git a/21400-h/music/music29.midi b/21400-h/music/music29.midi
new file mode 100644
index 0000000..746dcd8
--- /dev/null
+++ b/21400-h/music/music29.midi
diff --git a/21400-h/music/music30.midi b/21400-h/music/music30.midi
new file mode 100644
index 0000000..4a5cfb1
--- /dev/null
+++ b/21400-h/music/music30.midi
diff --git a/21400-h/music/music31.midi b/21400-h/music/music31.midi
new file mode 100644
index 0000000..2f2a0e7
--- /dev/null
+++ b/21400-h/music/music31.midi
diff --git a/21400-h/music/music32.midi b/21400-h/music/music32.midi
new file mode 100644
index 0000000..6e6e821
--- /dev/null
+++ b/21400-h/music/music32.midi
diff --git a/21400-h/music/music33.midi b/21400-h/music/music33.midi
new file mode 100644
index 0000000..b3217dd
--- /dev/null
+++ b/21400-h/music/music33.midi
diff --git a/21400-h/music/music34.midi b/21400-h/music/music34.midi
new file mode 100644
index 0000000..c06f08a
--- /dev/null
+++ b/21400-h/music/music34.midi
diff --git a/21400-h/music/music35.midi b/21400-h/music/music35.midi
new file mode 100644
index 0000000..655c247
--- /dev/null
+++ b/21400-h/music/music35.midi
diff --git a/21400-h/music/music36.midi b/21400-h/music/music36.midi
new file mode 100644
index 0000000..feeb718
--- /dev/null
+++ b/21400-h/music/music36.midi
diff --git a/21400-h/music/music37.midi b/21400-h/music/music37.midi
new file mode 100644
index 0000000..6afe60d
--- /dev/null
+++ b/21400-h/music/music37.midi
diff --git a/21400-h/music/music38.midi b/21400-h/music/music38.midi
new file mode 100644
index 0000000..7684db3
--- /dev/null
+++ b/21400-h/music/music38.midi
diff --git a/21400-h/music/music39.midi b/21400-h/music/music39.midi
new file mode 100644
index 0000000..373e88d
--- /dev/null
+++ b/21400-h/music/music39.midi
diff --git a/21400-h/music/music40.midi b/21400-h/music/music40.midi
new file mode 100644
index 0000000..0588c7c
--- /dev/null
+++ b/21400-h/music/music40.midi
diff --git a/21400-h/music/music41.midi b/21400-h/music/music41.midi
new file mode 100644
index 0000000..2788ce3
--- /dev/null
+++ b/21400-h/music/music41.midi
diff --git a/21400-h/music/music42.midi b/21400-h/music/music42.midi
new file mode 100644
index 0000000..28f86a3
--- /dev/null
+++ b/21400-h/music/music42.midi
diff --git a/21400-h/music/music43.midi b/21400-h/music/music43.midi
new file mode 100644
index 0000000..9be3a13
--- /dev/null
+++ b/21400-h/music/music43.midi
diff --git a/21400-h/music/music44.midi b/21400-h/music/music44.midi
new file mode 100644
index 0000000..9b159bf
--- /dev/null
+++ b/21400-h/music/music44.midi
diff --git a/21400-h/music/music45.midi b/21400-h/music/music45.midi
new file mode 100644
index 0000000..d22762a
--- /dev/null
+++ b/21400-h/music/music45.midi
diff --git a/21400-h/music/music46.midi b/21400-h/music/music46.midi
new file mode 100644
index 0000000..5c70241
--- /dev/null
+++ b/21400-h/music/music46.midi
diff --git a/21400-h/music/music47.midi b/21400-h/music/music47.midi
new file mode 100644
index 0000000..b7f91bc
--- /dev/null
+++ b/21400-h/music/music47.midi
diff --git a/21400-h/music/music48.midi b/21400-h/music/music48.midi
new file mode 100644
index 0000000..e011616
--- /dev/null
+++ b/21400-h/music/music48.midi
diff --git a/21400-h/music/music49.midi b/21400-h/music/music49.midi
new file mode 100644
index 0000000..9e8569a
--- /dev/null
+++ b/21400-h/music/music49.midi
diff --git a/21400-h/music/music50.midi b/21400-h/music/music50.midi
new file mode 100644
index 0000000..727ca4d
--- /dev/null
+++ b/21400-h/music/music50.midi
diff --git a/21400-h/music/music51.midi b/21400-h/music/music51.midi
new file mode 100644
index 0000000..aecece9
--- /dev/null
+++ b/21400-h/music/music51.midi
diff --git a/21400-h/music/music52.midi b/21400-h/music/music52.midi
new file mode 100644
index 0000000..89651c4
--- /dev/null
+++ b/21400-h/music/music52.midi
diff --git a/21400-h/music/music53.midi b/21400-h/music/music53.midi
new file mode 100644
index 0000000..57b3682
--- /dev/null
+++ b/21400-h/music/music53.midi
diff --git a/21400-h/music/music54.midi b/21400-h/music/music54.midi
new file mode 100644
index 0000000..570d2ba
--- /dev/null
+++ b/21400-h/music/music54.midi
diff --git a/21400-h/music/music55.midi b/21400-h/music/music55.midi
new file mode 100644
index 0000000..4931f20
--- /dev/null
+++ b/21400-h/music/music55.midi
diff --git a/21400-h/music/music56.midi b/21400-h/music/music56.midi
new file mode 100644
index 0000000..e72bf41
--- /dev/null
+++ b/21400-h/music/music56.midi
diff --git a/21400-h/music/music57.midi b/21400-h/music/music57.midi
new file mode 100644
index 0000000..e03a1d7
--- /dev/null
+++ b/21400-h/music/music57.midi
diff --git a/21400-h/music/music58.midi b/21400-h/music/music58.midi
new file mode 100644
index 0000000..f506fa0
--- /dev/null
+++ b/21400-h/music/music58.midi
diff --git a/21400-h/music/music59.midi b/21400-h/music/music59.midi
new file mode 100644
index 0000000..fbbbafb
--- /dev/null
+++ b/21400-h/music/music59.midi
diff --git a/21400-h/music/music60.midi b/21400-h/music/music60.midi
new file mode 100644
index 0000000..8d62a39
--- /dev/null
+++ b/21400-h/music/music60.midi
diff --git a/21400-h/music/music61.midi b/21400-h/music/music61.midi
new file mode 100644
index 0000000..a4119f2
--- /dev/null
+++ b/21400-h/music/music61.midi
diff --git a/21400-h/music/music63.midi b/21400-h/music/music63.midi
new file mode 100644
index 0000000..4d3e55e
--- /dev/null
+++ b/21400-h/music/music63.midi
diff --git a/21400-h/music/music64.midi b/21400-h/music/music64.midi
new file mode 100644
index 0000000..0aa63fb
--- /dev/null
+++ b/21400-h/music/music64.midi
diff --git a/21400-h/music/music65.midi b/21400-h/music/music65.midi
new file mode 100644
index 0000000..2a1fd5e
--- /dev/null
+++ b/21400-h/music/music65.midi
diff --git a/21400-h/music/music66.midi b/21400-h/music/music66.midi
new file mode 100644
index 0000000..2516681
--- /dev/null
+++ b/21400-h/music/music66.midi
diff --git a/21400-h/music/music67.midi b/21400-h/music/music67.midi
new file mode 100644
index 0000000..a315cb2
--- /dev/null
+++ b/21400-h/music/music67.midi
diff --git a/21400-h/music/music68.midi b/21400-h/music/music68.midi
new file mode 100644
index 0000000..0a67303
--- /dev/null
+++ b/21400-h/music/music68.midi
diff --git a/21400-h/music/music69.midi b/21400-h/music/music69.midi
new file mode 100644
index 0000000..a61b7e2
--- /dev/null
+++ b/21400-h/music/music69.midi
diff --git a/21400-h/music/music70.midi b/21400-h/music/music70.midi
new file mode 100644
index 0000000..fccabd9
--- /dev/null
+++ b/21400-h/music/music70.midi
diff --git a/21400-h/music/music71.midi b/21400-h/music/music71.midi
new file mode 100644
index 0000000..546acad
--- /dev/null
+++ b/21400-h/music/music71.midi
diff --git a/21400-h/music/music72.midi b/21400-h/music/music72.midi
new file mode 100644
index 0000000..e7ac9ab
--- /dev/null
+++ b/21400-h/music/music72.midi
diff --git a/21400-h/music/music73.midi b/21400-h/music/music73.midi
new file mode 100644
index 0000000..d30b04f
--- /dev/null
+++ b/21400-h/music/music73.midi
diff --git a/21400-h/music/music74.midi b/21400-h/music/music74.midi
new file mode 100644
index 0000000..9a4350d
--- /dev/null
+++ b/21400-h/music/music74.midi
diff --git a/21400-h/music/music75.midi b/21400-h/music/music75.midi
new file mode 100644
index 0000000..ce0da72
--- /dev/null
+++ b/21400-h/music/music75.midi
diff --git a/21400-h/music/music76.midi b/21400-h/music/music76.midi
new file mode 100644
index 0000000..b25eb7c
--- /dev/null
+++ b/21400-h/music/music76.midi
diff --git a/21400-h/music/music77.midi b/21400-h/music/music77.midi
new file mode 100644
index 0000000..e42d399
--- /dev/null
+++ b/21400-h/music/music77.midi
diff --git a/21400-h/music/music78.midi b/21400-h/music/music78.midi
new file mode 100644
index 0000000..5734f71
--- /dev/null
+++ b/21400-h/music/music78.midi
diff --git a/21400-h/music/music79.midi b/21400-h/music/music79.midi
new file mode 100644
index 0000000..eb36d81
--- /dev/null
+++ b/21400-h/music/music79.midi
diff --git a/21400-h/music/music80.midi b/21400-h/music/music80.midi
new file mode 100644
index 0000000..f2e83b7
--- /dev/null
+++ b/21400-h/music/music80.midi
diff --git a/21400-h/music/music82.midi b/21400-h/music/music82.midi
new file mode 100644
index 0000000..37472bd
--- /dev/null
+++ b/21400-h/music/music82.midi
diff --git a/21400-h/music/music83.midi b/21400-h/music/music83.midi
new file mode 100644
index 0000000..ba0ca9b
--- /dev/null
+++ b/21400-h/music/music83.midi
diff --git a/21400-h/music/music84.midi b/21400-h/music/music84.midi
new file mode 100644
index 0000000..51380db
--- /dev/null
+++ b/21400-h/music/music84.midi
diff --git a/21400-h/music/music85.midi b/21400-h/music/music85.midi
new file mode 100644
index 0000000..a42241a
--- /dev/null
+++ b/21400-h/music/music85.midi
diff --git a/21400-h/music/music86.midi b/21400-h/music/music86.midi
new file mode 100644
index 0000000..a01c31b
--- /dev/null
+++ b/21400-h/music/music86.midi
diff --git a/21400-h/music/music87.midi b/21400-h/music/music87.midi
new file mode 100644
index 0000000..4d6bcf4
--- /dev/null
+++ b/21400-h/music/music87.midi
diff --git a/21400-h/music/music88.midi b/21400-h/music/music88.midi
new file mode 100644
index 0000000..bf9c1e2
--- /dev/null
+++ b/21400-h/music/music88.midi
diff --git a/21400-h/music/music89.midi b/21400-h/music/music89.midi
new file mode 100644
index 0000000..177a301
--- /dev/null
+++ b/21400-h/music/music89.midi
diff --git a/21400-h/music/music90.midi b/21400-h/music/music90.midi
new file mode 100644
index 0000000..4a37ce5
--- /dev/null
+++ b/21400-h/music/music90.midi
diff --git a/21400-h/music/music91.midi b/21400-h/music/music91.midi
new file mode 100644
index 0000000..47f72ef
--- /dev/null
+++ b/21400-h/music/music91.midi
diff --git a/21400-h/music/music92.midi b/21400-h/music/music92.midi
new file mode 100644
index 0000000..f92b78b
--- /dev/null
+++ b/21400-h/music/music92.midi
diff --git a/21400-h/music/music93.midi b/21400-h/music/music93.midi
new file mode 100644
index 0000000..4002cc2
--- /dev/null
+++ b/21400-h/music/music93.midi
diff --git a/21400-h/music/music94.midi b/21400-h/music/music94.midi
new file mode 100644
index 0000000..e94beff
--- /dev/null
+++ b/21400-h/music/music94.midi
diff --git a/21400-h/music/music95.midi b/21400-h/music/music95.midi
new file mode 100644
index 0000000..f75cb12
--- /dev/null
+++ b/21400-h/music/music95.midi
diff --git a/21400-h/music/music96.midi b/21400-h/music/music96.midi
new file mode 100644
index 0000000..f921042
--- /dev/null
+++ b/21400-h/music/music96.midi
diff --git a/21400-h/music/music97.midi b/21400-h/music/music97.midi
new file mode 100644
index 0000000..4f36566
--- /dev/null
+++ b/21400-h/music/music97.midi
diff --git a/21400-h/music/music98.midi b/21400-h/music/music98.midi
new file mode 100644
index 0000000..9b152a7
--- /dev/null
+++ b/21400-h/music/music98.midi
diff --git a/21400-h/music/music99.midi b/21400-h/music/music99.midi
new file mode 100644
index 0000000..ef1dc1d
--- /dev/null
+++ b/21400-h/music/music99.midi
diff --git a/21400-page-images/f001.png b/21400-page-images/f001.png
new file mode 100644
index 0000000..51c3175
--- /dev/null
+++ b/21400-page-images/f001.png
diff --git a/21400-page-images/f002.png b/21400-page-images/f002.png
new file mode 100644
index 0000000..b6ce55a
--- /dev/null
+++ b/21400-page-images/f002.png
diff --git a/21400-page-images/f003.png b/21400-page-images/f003.png
new file mode 100644
index 0000000..3537814
--- /dev/null
+++ b/21400-page-images/f003.png
diff --git a/21400-page-images/f004.png b/21400-page-images/f004.png
new file mode 100644
index 0000000..cc72948
--- /dev/null
+++ b/21400-page-images/f004.png
diff --git a/21400-page-images/f005.png b/21400-page-images/f005.png
new file mode 100644
index 0000000..c0b7e69
--- /dev/null
+++ b/21400-page-images/f005.png
diff --git a/21400-page-images/f006.png b/21400-page-images/f006.png
new file mode 100644
index 0000000..c2f2258
--- /dev/null
+++ b/21400-page-images/f006.png
diff --git a/21400-page-images/p001.png b/21400-page-images/p001.png
new file mode 100644
index 0000000..32bd190
--- /dev/null
+++ b/21400-page-images/p001.png
diff --git a/21400-page-images/p002.png b/21400-page-images/p002.png
new file mode 100644
index 0000000..f6cb3a1
--- /dev/null
+++ b/21400-page-images/p002.png
diff --git a/21400-page-images/p003.png b/21400-page-images/p003.png
new file mode 100644
index 0000000..eec9308
--- /dev/null
+++ b/21400-page-images/p003.png
diff --git a/21400-page-images/p004.png b/21400-page-images/p004.png
new file mode 100644
index 0000000..170d434
--- /dev/null
+++ b/21400-page-images/p004.png
diff --git a/21400-page-images/p005.png b/21400-page-images/p005.png
new file mode 100644
index 0000000..e5c6849
--- /dev/null
+++ b/21400-page-images/p005.png
diff --git a/21400-page-images/p006.png b/21400-page-images/p006.png
new file mode 100644
index 0000000..64c699f
--- /dev/null
+++ b/21400-page-images/p006.png
diff --git a/21400-page-images/p007.png b/21400-page-images/p007.png
new file mode 100644
index 0000000..434835c
--- /dev/null
+++ b/21400-page-images/p007.png
diff --git a/21400-page-images/p008.png b/21400-page-images/p008.png
new file mode 100644
index 0000000..8595c39
--- /dev/null
+++ b/21400-page-images/p008.png
diff --git a/21400-page-images/p009.png b/21400-page-images/p009.png
new file mode 100644
index 0000000..0d4b65f
--- /dev/null
+++ b/21400-page-images/p009.png
diff --git a/21400-page-images/p010.png b/21400-page-images/p010.png
new file mode 100644
index 0000000..d24e5b7
--- /dev/null
+++ b/21400-page-images/p010.png
diff --git a/21400-page-images/p011.png b/21400-page-images/p011.png
new file mode 100644
index 0000000..50d4dec
--- /dev/null
+++ b/21400-page-images/p011.png
diff --git a/21400-page-images/p012.png b/21400-page-images/p012.png
new file mode 100644
index 0000000..960cca5
--- /dev/null
+++ b/21400-page-images/p012.png
diff --git a/21400-page-images/p013.png b/21400-page-images/p013.png
new file mode 100644
index 0000000..fc39c53
--- /dev/null
+++ b/21400-page-images/p013.png
diff --git a/21400-page-images/p014.png b/21400-page-images/p014.png
new file mode 100644
index 0000000..c4501ea
--- /dev/null
+++ b/21400-page-images/p014.png
diff --git a/21400-page-images/p015.png b/21400-page-images/p015.png
new file mode 100644
index 0000000..48747ca
--- /dev/null
+++ b/21400-page-images/p015.png
diff --git a/21400-page-images/p016.png b/21400-page-images/p016.png
new file mode 100644
index 0000000..e348eea
--- /dev/null
+++ b/21400-page-images/p016.png
diff --git a/21400-page-images/p017.png b/21400-page-images/p017.png
new file mode 100644
index 0000000..4f92df7
--- /dev/null
+++ b/21400-page-images/p017.png
diff --git a/21400-page-images/p018.png b/21400-page-images/p018.png
new file mode 100644
index 0000000..b89a296
--- /dev/null
+++ b/21400-page-images/p018.png
diff --git a/21400-page-images/p019.png b/21400-page-images/p019.png
new file mode 100644
index 0000000..c9fea71
--- /dev/null
+++ b/21400-page-images/p019.png
diff --git a/21400-page-images/p020.png b/21400-page-images/p020.png
new file mode 100644
index 0000000..b574bfd
--- /dev/null
+++ b/21400-page-images/p020.png
diff --git a/21400-page-images/p021.png b/21400-page-images/p021.png
new file mode 100644
index 0000000..8290059
--- /dev/null
+++ b/21400-page-images/p021.png
diff --git a/21400-page-images/p022.png b/21400-page-images/p022.png
new file mode 100644
index 0000000..76a5fc6
--- /dev/null
+++ b/21400-page-images/p022.png
diff --git a/21400-page-images/p023.png b/21400-page-images/p023.png
new file mode 100644
index 0000000..f96db1e
--- /dev/null
+++ b/21400-page-images/p023.png
diff --git a/21400-page-images/p024.png b/21400-page-images/p024.png
new file mode 100644
index 0000000..4bee15c
--- /dev/null
+++ b/21400-page-images/p024.png
diff --git a/21400-page-images/p025.png b/21400-page-images/p025.png
new file mode 100644
index 0000000..56fda41
--- /dev/null
+++ b/21400-page-images/p025.png
diff --git a/21400-page-images/p026.png b/21400-page-images/p026.png
new file mode 100644
index 0000000..2aaa4ce
--- /dev/null
+++ b/21400-page-images/p026.png
diff --git a/21400-page-images/p027.png b/21400-page-images/p027.png
new file mode 100644
index 0000000..1dec125
--- /dev/null
+++ b/21400-page-images/p027.png
diff --git a/21400-page-images/p028.png b/21400-page-images/p028.png
new file mode 100644
index 0000000..98cad2b
--- /dev/null
+++ b/21400-page-images/p028.png
diff --git a/21400-page-images/p029.png b/21400-page-images/p029.png
new file mode 100644
index 0000000..2b4ced2
--- /dev/null
+++ b/21400-page-images/p029.png
diff --git a/21400-page-images/p030.png b/21400-page-images/p030.png
new file mode 100644
index 0000000..295cb70
--- /dev/null
+++ b/21400-page-images/p030.png
diff --git a/21400-page-images/p031.png b/21400-page-images/p031.png
new file mode 100644
index 0000000..ed50932
--- /dev/null
+++ b/21400-page-images/p031.png
diff --git a/21400-page-images/p032.png b/21400-page-images/p032.png
new file mode 100644
index 0000000..1305eab
--- /dev/null
+++ b/21400-page-images/p032.png
diff --git a/21400-page-images/p033.png b/21400-page-images/p033.png
new file mode 100644
index 0000000..d58aedd
--- /dev/null
+++ b/21400-page-images/p033.png
diff --git a/21400-page-images/p034.png b/21400-page-images/p034.png
new file mode 100644
index 0000000..0279654
--- /dev/null
+++ b/21400-page-images/p034.png
diff --git a/21400-page-images/p035.png b/21400-page-images/p035.png
new file mode 100644
index 0000000..4d8b1cb
--- /dev/null
+++ b/21400-page-images/p035.png
diff --git a/21400-page-images/p036.png b/21400-page-images/p036.png
new file mode 100644
index 0000000..525909f
--- /dev/null
+++ b/21400-page-images/p036.png
diff --git a/21400-page-images/p037.png b/21400-page-images/p037.png
new file mode 100644
index 0000000..903e853
--- /dev/null
+++ b/21400-page-images/p037.png
diff --git a/21400-page-images/p038.png b/21400-page-images/p038.png
new file mode 100644
index 0000000..a674e98
--- /dev/null
+++ b/21400-page-images/p038.png
diff --git a/21400-page-images/p039.png b/21400-page-images/p039.png
new file mode 100644
index 0000000..3bf2085
--- /dev/null
+++ b/21400-page-images/p039.png
diff --git a/21400-page-images/p040.png b/21400-page-images/p040.png
new file mode 100644
index 0000000..776e965
--- /dev/null
+++ b/21400-page-images/p040.png
diff --git a/21400-page-images/p041.png b/21400-page-images/p041.png
new file mode 100644
index 0000000..75f2cdb
--- /dev/null
+++ b/21400-page-images/p041.png
diff --git a/21400-page-images/p042.png b/21400-page-images/p042.png
new file mode 100644
index 0000000..78facad
--- /dev/null
+++ b/21400-page-images/p042.png
diff --git a/21400-page-images/p043.png b/21400-page-images/p043.png
new file mode 100644
index 0000000..1e67403
--- /dev/null
+++ b/21400-page-images/p043.png
diff --git a/21400-page-images/p044.png b/21400-page-images/p044.png
new file mode 100644
index 0000000..39d0fa1
--- /dev/null
+++ b/21400-page-images/p044.png
diff --git a/21400-page-images/p045.png b/21400-page-images/p045.png
new file mode 100644
index 0000000..f9d717d
--- /dev/null
+++ b/21400-page-images/p045.png
diff --git a/21400-page-images/p046.png b/21400-page-images/p046.png
new file mode 100644
index 0000000..6e94f17
--- /dev/null
+++ b/21400-page-images/p046.png
diff --git a/21400-page-images/p047.png b/21400-page-images/p047.png
new file mode 100644
index 0000000..063b272
--- /dev/null
+++ b/21400-page-images/p047.png
diff --git a/21400-page-images/p048.png b/21400-page-images/p048.png
new file mode 100644
index 0000000..b7e97d2
--- /dev/null
+++ b/21400-page-images/p048.png
diff --git a/21400-page-images/p049.png b/21400-page-images/p049.png
new file mode 100644
index 0000000..7e41ebe
--- /dev/null
+++ b/21400-page-images/p049.png
diff --git a/21400-page-images/p050.png b/21400-page-images/p050.png
new file mode 100644
index 0000000..f278112
--- /dev/null
+++ b/21400-page-images/p050.png
diff --git a/21400-page-images/p051.png b/21400-page-images/p051.png
new file mode 100644
index 0000000..614f975
--- /dev/null
+++ b/21400-page-images/p051.png
diff --git a/21400-page-images/p052.png b/21400-page-images/p052.png
new file mode 100644
index 0000000..8b89855
--- /dev/null
+++ b/21400-page-images/p052.png
diff --git a/21400-page-images/p053.png b/21400-page-images/p053.png
new file mode 100644
index 0000000..837181b
--- /dev/null
+++ b/21400-page-images/p053.png
diff --git a/21400-page-images/p054.png b/21400-page-images/p054.png
new file mode 100644
index 0000000..655bec8
--- /dev/null
+++ b/21400-page-images/p054.png
diff --git a/21400-page-images/p055.png b/21400-page-images/p055.png
new file mode 100644
index 0000000..ff4f0b6
--- /dev/null
+++ b/21400-page-images/p055.png
diff --git a/21400-page-images/p056.png b/21400-page-images/p056.png
new file mode 100644
index 0000000..8c35af5
--- /dev/null
+++ b/21400-page-images/p056.png
diff --git a/21400-page-images/p057.png b/21400-page-images/p057.png
new file mode 100644
index 0000000..015cd0a
--- /dev/null
+++ b/21400-page-images/p057.png
diff --git a/21400-page-images/p058.png b/21400-page-images/p058.png
new file mode 100644
index 0000000..7af90ab
--- /dev/null
+++ b/21400-page-images/p058.png
diff --git a/21400-page-images/p059.png b/21400-page-images/p059.png
new file mode 100644
index 0000000..26e367a
--- /dev/null
+++ b/21400-page-images/p059.png
diff --git a/21400-page-images/p060.png b/21400-page-images/p060.png
new file mode 100644
index 0000000..33286f0
--- /dev/null
+++ b/21400-page-images/p060.png
diff --git a/21400-page-images/p061.png b/21400-page-images/p061.png
new file mode 100644
index 0000000..bc52eb4
--- /dev/null
+++ b/21400-page-images/p061.png
diff --git a/21400-page-images/p062.png b/21400-page-images/p062.png
new file mode 100644
index 0000000..41f2bb3
--- /dev/null
+++ b/21400-page-images/p062.png
diff --git a/21400-page-images/p063.png b/21400-page-images/p063.png
new file mode 100644
index 0000000..2083fdb
--- /dev/null
+++ b/21400-page-images/p063.png
diff --git a/21400-page-images/p064.png b/21400-page-images/p064.png
new file mode 100644
index 0000000..f61201e
--- /dev/null
+++ b/21400-page-images/p064.png
diff --git a/21400-page-images/p065.png b/21400-page-images/p065.png
new file mode 100644
index 0000000..164793c
--- /dev/null
+++ b/21400-page-images/p065.png
diff --git a/21400-page-images/p066.png b/21400-page-images/p066.png
new file mode 100644
index 0000000..76d1fd3
--- /dev/null
+++ b/21400-page-images/p066.png
diff --git a/21400-page-images/p067.png b/21400-page-images/p067.png
new file mode 100644
index 0000000..cf22ede
--- /dev/null
+++ b/21400-page-images/p067.png
diff --git a/21400-page-images/p068.png b/21400-page-images/p068.png
new file mode 100644
index 0000000..7fa04a9
--- /dev/null
+++ b/21400-page-images/p068.png
diff --git a/21400-page-images/p069.png b/21400-page-images/p069.png
new file mode 100644
index 0000000..3d96785
--- /dev/null
+++ b/21400-page-images/p069.png
diff --git a/21400-page-images/p070.png b/21400-page-images/p070.png
new file mode 100644
index 0000000..67765bf
--- /dev/null
+++ b/21400-page-images/p070.png
diff --git a/21400-page-images/p071.png b/21400-page-images/p071.png
new file mode 100644
index 0000000..5746929
--- /dev/null
+++ b/21400-page-images/p071.png
diff --git a/21400-page-images/p072.png b/21400-page-images/p072.png
new file mode 100644
index 0000000..a4dc4ba
--- /dev/null
+++ b/21400-page-images/p072.png
diff --git a/21400-page-images/p073.png b/21400-page-images/p073.png
new file mode 100644
index 0000000..773a123
--- /dev/null
+++ b/21400-page-images/p073.png
diff --git a/21400-page-images/p074.png b/21400-page-images/p074.png
new file mode 100644
index 0000000..663cd69
--- /dev/null
+++ b/21400-page-images/p074.png
diff --git a/21400-page-images/p075.png b/21400-page-images/p075.png
new file mode 100644
index 0000000..e97ecff
--- /dev/null
+++ b/21400-page-images/p075.png
diff --git a/21400-page-images/p076.png b/21400-page-images/p076.png
new file mode 100644
index 0000000..91a9a76
--- /dev/null
+++ b/21400-page-images/p076.png
diff --git a/21400-page-images/p077.png b/21400-page-images/p077.png
new file mode 100644
index 0000000..ff364b8
--- /dev/null
+++ b/21400-page-images/p077.png
diff --git a/21400-page-images/p078.png b/21400-page-images/p078.png
new file mode 100644
index 0000000..b5f670b
--- /dev/null
+++ b/21400-page-images/p078.png
diff --git a/21400-page-images/p079.png b/21400-page-images/p079.png
new file mode 100644
index 0000000..c64680f
--- /dev/null
+++ b/21400-page-images/p079.png
diff --git a/21400-page-images/p080.png b/21400-page-images/p080.png
new file mode 100644
index 0000000..d0a77af
--- /dev/null
+++ b/21400-page-images/p080.png
diff --git a/21400-page-images/p081.png b/21400-page-images/p081.png
new file mode 100644
index 0000000..c8f3e7e
--- /dev/null
+++ b/21400-page-images/p081.png
diff --git a/21400-page-images/p082.png b/21400-page-images/p082.png
new file mode 100644
index 0000000..7ebf284
--- /dev/null
+++ b/21400-page-images/p082.png
diff --git a/21400-page-images/p083.png b/21400-page-images/p083.png
new file mode 100644
index 0000000..413eaa5
--- /dev/null
+++ b/21400-page-images/p083.png
diff --git a/21400-page-images/p084.png b/21400-page-images/p084.png
new file mode 100644
index 0000000..021020e
--- /dev/null
+++ b/21400-page-images/p084.png
diff --git a/21400-page-images/p085.png b/21400-page-images/p085.png
new file mode 100644
index 0000000..ff37494
--- /dev/null
+++ b/21400-page-images/p085.png
diff --git a/21400-page-images/p086.png b/21400-page-images/p086.png
new file mode 100644
index 0000000..ef40ff7
--- /dev/null
+++ b/21400-page-images/p086.png
diff --git a/21400-page-images/p087.png b/21400-page-images/p087.png
new file mode 100644
index 0000000..522bbb1
--- /dev/null
+++ b/21400-page-images/p087.png
diff --git a/21400-page-images/p088.png b/21400-page-images/p088.png
new file mode 100644
index 0000000..b661d07
--- /dev/null
+++ b/21400-page-images/p088.png
diff --git a/21400-page-images/p089.png b/21400-page-images/p089.png
new file mode 100644
index 0000000..8dcf8d3
--- /dev/null
+++ b/21400-page-images/p089.png
diff --git a/21400-page-images/p090.png b/21400-page-images/p090.png
new file mode 100644
index 0000000..c3e1a94
--- /dev/null
+++ b/21400-page-images/p090.png
diff --git a/21400-page-images/p091.png b/21400-page-images/p091.png
new file mode 100644
index 0000000..3f6ca51
--- /dev/null
+++ b/21400-page-images/p091.png
diff --git a/21400-page-images/p092.png b/21400-page-images/p092.png
new file mode 100644
index 0000000..f719bd3
--- /dev/null
+++ b/21400-page-images/p092.png
diff --git a/21400-page-images/p093.png b/21400-page-images/p093.png
new file mode 100644
index 0000000..3d8b59b
--- /dev/null
+++ b/21400-page-images/p093.png
diff --git a/21400-page-images/p094.png b/21400-page-images/p094.png
new file mode 100644
index 0000000..563d190
--- /dev/null
+++ b/21400-page-images/p094.png
diff --git a/21400-page-images/p095.png b/21400-page-images/p095.png
new file mode 100644
index 0000000..64a3e18
--- /dev/null
+++ b/21400-page-images/p095.png
diff --git a/21400-page-images/p096.png b/21400-page-images/p096.png
new file mode 100644
index 0000000..ef93bdc
--- /dev/null
+++ b/21400-page-images/p096.png
diff --git a/21400-page-images/p097.png b/21400-page-images/p097.png
new file mode 100644
index 0000000..b5de2f4
--- /dev/null
+++ b/21400-page-images/p097.png
diff --git a/21400-page-images/p098.png b/21400-page-images/p098.png
new file mode 100644
index 0000000..9109762
--- /dev/null
+++ b/21400-page-images/p098.png
diff --git a/21400-page-images/p099.png b/21400-page-images/p099.png
new file mode 100644
index 0000000..d32e0cb
--- /dev/null
+++ b/21400-page-images/p099.png
diff --git a/21400-page-images/p100.png b/21400-page-images/p100.png
new file mode 100644
index 0000000..8004108
--- /dev/null
+++ b/21400-page-images/p100.png
diff --git a/21400-page-images/p101.png b/21400-page-images/p101.png
new file mode 100644
index 0000000..5806a34
--- /dev/null
+++ b/21400-page-images/p101.png
diff --git a/21400-page-images/p102.png b/21400-page-images/p102.png
new file mode 100644
index 0000000..cd2fcba
--- /dev/null
+++ b/21400-page-images/p102.png
diff --git a/21400-page-images/p103.png b/21400-page-images/p103.png
new file mode 100644
index 0000000..06345e6
--- /dev/null
+++ b/21400-page-images/p103.png
diff --git a/21400-page-images/p104.png b/21400-page-images/p104.png
new file mode 100644
index 0000000..442e93e
--- /dev/null
+++ b/21400-page-images/p104.png
diff --git a/21400.txt b/21400.txt
new file mode 100644
index 0000000..ed64dbd
--- /dev/null
+++ b/21400.txt
@@ -0,0 +1,3233 @@
+The Project Gutenberg EBook of Style in Singing, by W. E. Haslam
+
+This eBook is for the use of anyone anywhere at no cost and with
+almost no restrictions whatsoever.  You may copy it, give it away or
+re-use it under the terms of the Project Gutenberg License included
+with this eBook or online at www.gutenberg.org
+
+
+Title: Style in Singing
+
+Author: W. E. Haslam
+
+Release Date: May 9, 2007 [EBook #21400]
+
+Language: English
+
+Character set encoding: ASCII
+
+*** START OF THIS PROJECT GUTENBERG EBOOK STYLE IN SINGING ***
+
+
+
+
+Produced by David Newman, Chuck Greif, Linda Cantoni, and
+the Online Distributed Proofreading Team at
+http://www.pgdp.net
+
+
+
+
+
+
+
+
+
+_TO MY PUPILS_
+
+
+STYLE IN SINGING
+
+
+BY
+
+W.E. HASLAM
+
+
+NEW YORK: G. SCHIRMER
+1911
+
+Copyright, 1911
+By G. SCHIRMER
+
+22670
+
+
+
+
+PREFATORY NOTE
+
+
+"Of making many books there is no end." Surely, the weary observation
+of the sage must have an especial application to the literature of
+Song.
+
+One could not number the books--anatomical, physiological,
+philosophical--on the Voice. A spacious library could easily be
+furnished with "Methods" of Singing.
+
+Works treating of the laws governing the effective interpretation of
+instrumental music exist. Some of them, by acknowledged and competent
+authorities, have thrown valuable light on a most important element of
+musical art. Had I not believed that a similar need existed in
+connection with singing, this addition to vocal literature would not
+have been written.
+
+In a succeeding volume on "Lyric Declamation: Recitative, Song and
+Ballad Singing," will be discussed the practical application of these
+basic principles of Style to the vocal music of the German, French,
+Italian and other national schools.
+
+W.E. HASLAM.
+
+2, rue Maleville,
+  Parc Monceau, Paris,
+    July, 1911.
+
+
+
+
+INTRODUCTION
+
+
+In listening to a Patti, a Kubelik, a Paderewski, the reflective
+hearer is struck by the absolute sureness with which such artists
+arouse certain sensations in their auditors. Moreover, subsequent
+hearings will reveal the fact that this sensation is aroused always in
+the same place, and in the same manner. The beauty of the voice may be
+temporarily affected in the case of a singer, or an instrument of less
+aesthetic tone-quality be used by the instrumentalist, but the result
+is always the same.
+
+What is the reason of this? Why do great artists always make the same
+effect and produce the same impression on their public? Why, for
+instance, did the late Mme. Tietjens, when singing the following
+passage in Handel's _Messiah_, always begin with very little voice of
+a dulled quality, and gradually brighten its character as well as
+augment its volume until she reached the high _G_-[sharp] which is the
+culmination, not only of the musical phrase, but also of the
+tremendous announcement to which it is allied?
+
+[Music: For now is Christ risen, for now is Christ risen.]
+
+This last tone was delivered with the full force and brilliance of her
+magnificent voice, and was prolonged until the thrill produced in the
+listener became almost painful in its intensity. Again I ask, why did
+this world-famous singer perform this passage _always_ in the same
+way? Unreflecting people may reply vaguely that it was because the
+artist "sang with expression." But what constitutes "expression" in
+singing? No great artist--no matter what the vehicle or medium through
+which his art finds manifestation--does anything at random. "The wind
+bloweth where it listeth" only in appearance; in reality, it is
+governed by immutable law. Similarly, the outward form of an art is
+only apparently dictated by caprice and freedom from rule. The
+effective presentation of every art is based on well-defined and
+accepted principles. And it is with the earnest desire to throw light
+on this most important phase of vocal art, that I present the
+principles of "Style in Singing."
+
+
+
+
+CONTENTS
+
+
+                                                                  PAGE
+
+PREFATORY NOTE                                                       v
+
+INTRODUCTION                                                       vii
+
+CHAPTER I: Elements of Vocal Training                                1
+
+    Emission of Voice                                                2
+
+CHAPTER II: The Value of Technique                                   7
+
+CHAPTER III: Analysis of Style                                      12
+
+    Colour                                                          14
+
+    Accent                                                          21
+
+    Intensity                                                       27
+
+    Phrasing                                                        32
+
+    Portamento                                                      37
+
+    Variations of Tempo                                             41
+
+CHAPTER IV: Tradition                                               44
+
+    Pointage                                                        61
+
+CHAPTER V: Repertoire                                               91
+
+CHAPTER VI: Conclusion                                              98
+
+
+
+
+STYLE IN SINGING
+
+
+
+
+CHAPTER I
+
+ELEMENTS OF VOCAL TRAINING
+
+
+If the practical education of the singer be analyzed, it will be found
+to comprise four fundamental elements:
+
+(1) POSE: or Emission of voice;
+
+(2) TECHNIQUE: or the discipline of the voice considered as a musical
+instrument;
+
+(3) STYLE: or the application of the laws of artistic taste to the
+interpretation of vocal music;
+
+(4) REPERTOIRE: or the choice, in the literature of vocal music, of
+works most suited to the voice, temperament and individuality of the
+particular singer.
+
+I have classed these four elements in their relative order. They are,
+however, of equal importance. Until the Pose and Technique of a voice
+are satisfactory, attempts to acquire Style are premature. On the
+other hand, without Style, a well-placed voice and an adequate amount
+of Technique are incomplete; and until the singer's education has been
+rounded off with a Repertoire adapted to his individual capabilities,
+he is of little practical use for professional purposes.
+
+       *       *       *       *       *
+
+EMISSION OF VOICE
+
+Great natural gifts of temperament and originality may, and sometimes
+do, mask defects of emission, particularly in the case of artists
+following the operatic career. But the artistic life and success of
+such a singer is short. Violated Nature rebels, and avenges herself
+for all infractions of law. A voice that is badly produced or emitted
+speedily becomes worn, and is easily fatigued. By an additional
+exertion of physical force, the singer usually attempts to conceal its
+loss of sonority and carrying-power. The consequences are disastrous
+for the entire instrument. The medium--to which is assigned the
+greater portion of every singer's work--becomes "breathy" and hollow,
+the lower tones guttural, the higher tones shrill, and the voice,
+throughout its entire compass, harsh and unmanageable.
+
+In view of its supreme importance, it is scarcely necessary to dwell
+upon the self-evident fact that this foundation--Emission, or Placing
+of the voice--should be well laid under the guidance of a skilled and
+experienced singing-teacher. Nothing but disappointment can ensue if a
+task of such consequence be confided, as is too frequently the case,
+to one of the numerous charlatans who, as Oscar Commettant said, "_are
+not able to achieve possibilities, so they promise miracles_." The
+proper Classification, and subsequent Placing, of a voice require the
+greatest tact and discernment. True, there are voices so well-defined
+in character as to occasion no possible error in their proper
+Classification at the beginning of their studies. But this is not the
+case with a number of others, particularly those known as voices of
+_mezzo-carattere_ (_demi-caractere_). It requires a physician of great
+skill and experience to diagnose an obscure malady; but when once a
+correct diagnosis is made, many doctors of less eminence might
+successfully treat the malady, seeing that the recognized
+pharmacopoeia contains no secret remedies.
+
+Let the student of singing beware of the numerous impostors who claim
+to have a "Method," a sort of bed of Procrustes, which the victim,
+whether long or short, is made to fit. A "method" must be adapted to
+the subject, not the subject made to fit the method. The object of all
+teaching is the same, viz., to impart knowledge; but the means of
+arriving at that end are multiple, and the manner of communicating
+instruction is very often personal. To imagine that the same mode of
+procedure, or "method," is applicable to all voices, is as
+unreasonable as to expect that the same medicament will apply to all
+maladies. In imparting a correct emission of voice, science has not
+infrequently to efface the results of a previous defective use,
+inherent or acquired, of the vocal organ. Hence, although the object
+to be attained is in every case the same, the _modus operandi_ will
+vary infinitely. Nor should these most important branches of
+Classification and Production be entrusted--as is often the case--to
+assistants, usually accompanists, lacking the necessary training for a
+work requiring great experience and ripe judgment. To a competent
+assistant may very properly be confided the preparation of Technique,
+as applied to a mechanical instrument: All violins, for instance, are
+practically the same. But voices differ as do faces.
+
+The present mania for dragging voices up, and out of their legitimate
+_tessitura_, has become a very grave evil, the consequences of which,
+in many instances, have been most disastrous. Tolerable baritones have
+been transformed into very mediocre tenors, capable mezzo-soprani into
+very indifferent dramatic soprani, and so on. That this process may
+have answered in a few isolated cases, where the vocal organs were of
+such exceptional strength and resistance as to bear the strain, is by
+no means a guarantee that the same results may be obtained in every
+instance, and with less favoured subjects. The average compass in male
+voices is about two octaves minus one or two tones. I mean, of course,
+tones that are really available when the singer is on the stage and
+accompanied by an orchestra. Now, a baritone who strives to transform
+his voice into a tenor, simply loses the two lowest tones of his
+compass, possibly of good quality and resonance, and gains a minor or
+major third above the high G (sol) of a very poor, strained character.
+The compass of the voice remains exactly the same. He has merely
+exchanged several excellent tones below for some very poor ones above.
+I repeat, one who aspires to be a lyric artist requires the best
+possible teacher to guide his first steps; he may consult an inferior
+or incompetent professor, when so firmly established in the right path
+that he cannot possibly be led astray.
+
+It is a common belief that singing-teachers of reputation do not care
+to occupy themselves with voice-production, or are unable to teach it.
+This is a serious error. A competent professor of singing is as
+capable of imparting the principles of this most important branch, as
+of directing the more aesthetic studies of Style and Repertoire. All
+the really great and illustrious singing-masters of the past preferred
+to "form" the voices of their pupils. To continue and finish a
+predecessor's work, or to erect a handsome and solid structure on
+defective foundations, is always a difficult task; sometimes an
+impossible one.
+
+Then, as regards the pupil, particularly one studying with a view to a
+professional career, a defective preparatory training may eventually
+mean serious material loss. The money and time spent on his vocal
+education is, in his case, an investment, not an outlay; the
+investment will be a poor one, should it be necessary later to devote
+further time and expend more money to correct natural defects that
+ought to have been corrected at the beginning of his studies, or to
+eradicate faults acquired during their progress.
+
+Furthermore, the purpose of some part of a singer's preliminary
+education is to strengthen and fit the voice for the exacting demands
+of a professional career. As the training of an athlete--rower,
+runner, boxer, wrestler--not only perfects his technical skill, but
+also, by a process of gradual development, enables him to endure the
+exceptional strain he will eventually have to bear in a contest, so
+some of a singer's early studies prepare his voice for the tax to
+which hereafter it will be subjected. If those studies have been
+insufficient, or ill-directed, failure awaits the debutant when he
+presents himself before the public in a spacious theatre or
+concert-hall and strives, ineffectually, to dominate the powerful
+sonorities of the large orchestras which are a necessity for modern
+scores. A sound and judiciously graduated preparatory training, in
+fact, is essential if the singer would avoid disappointment or a
+fiasco.
+
+The vocal education of many students, however, is nowadays hurried
+through with a haste that is equalled only by the celerity with which
+such aspirants for lyric honours return to obscurity.
+
+
+
+
+CHAPTER II
+
+THE VALUE OF TECHNIQUE
+
+
+Briefly defined, the singer's Technique may be said to consist
+principally of the ability to govern the voice in its three phases of
+Pitch, Colour, and Intensity. That is, he must be able to sing every
+note throughout the compass of the voice (Pitch) in different
+qualities or timbres (Colour), and with various degrees of power
+(Intensity). And although the modern schools of composition for the
+voice do not encourage the display of florid execution, a singer would
+be ill-advised indeed to neglect this factor, on the plea that it has
+no longer any practical application. No greater error is conceivable.
+Should an instrumental virtuoso fail to acquire mastery of
+transcendental difficulties, his performance of any piece would not be
+perfect: the greater includes the less. A singer would be very
+short-sighted who did not adopt an analogous line of reasoning.
+Without an appreciable amount of _agilita_, the performance of modern
+music is laboured and heavy; that of the classics, impossible. In
+fact, virtuosity, if properly understood, is as indispensable to-day
+as ever it was. As much vocal virtuosity is required to interpret
+successfully the music of Falstaff, in Verdi's opera, as is necessary
+for _Maometto Secondo_ or _Semiramide_ by Rossini. It is simply
+another form of virtuosity; that is all. The lyric grace or dramatic
+intensity of many pages of Wagner's music-dramas can be fully revealed
+only through a voice that has been rendered supple by training, and
+responsive to the slightest suggestion of an artistic temperament.
+
+In short, virtuosity may have changed in form, but it is still one of
+the cornerstones of the singer's art. An executive artist will spare
+no pains to acquire perfect technical skill; for the _metier_, or
+mechanical elements of any art, can be acquired, spontaneous though
+the results may sometimes appear. Its primary use is, and should be,
+to serve as a medium of interpretation. True, virtuosity is frequently
+a vehicle for personal display, as, notably, in the operas of
+Cimarosa, Bellini, Donizetti, and the earlier works of Rossini and
+Verdi. At its worst, however, it is a practical demonstration of the
+fact that the executant, vocal or instrumental, has completely
+mastered the mechanical elements of his profession; that, to use the
+_argot_ of the studios, "_il connait son metier_" (he knows his
+trade).
+
+Imperfect technique, indeed, is to be deprecated, if merely for the
+reason that it may debar a singer from interpreting accurately the
+composer's ideas. How seldom, if ever, even in the best lyric
+theatres, is the following passage heard as the composer himself
+indicated:
+
+[Music: "Plus blanche"
+
+Les Huguenots: Act I
+
+Meyerbeer
+
+Plus pure, plus pure qu'un jour de printemps]
+
+or the concluding phrase of "Celeste Aida" (in _Aida_, Act I), as
+Verdi wrote it and wished it to be sung:
+
+[Music: un trono vicino al sol, un trono vicino al sol.]
+
+At present the majority of operatic tenors, to whom are assigned the
+strong tenor (_fort tenor_) roles, can sing the higher tones of their
+compass only in _forte_, and with full voice. Thus an additional and
+very charming effect is lost to them. Yet Adolphe Nourrit, who created
+the role of Raoul in _Les Huguenots_, sang, it is said, the phrase as
+written. The late Italo Campanini, Sims Reeves, and the famous Spanish
+tenor Gayarre, were all able to sing the
+
+[Music]
+
+_mezza voce_, by a skilled use of the covered tones.
+
+I do not ignore the fact that cases occur where artists, owing to some
+physiological peculiarity or personal idiosyncrasy, are unable to
+overcome certain special difficulties; where, indeed, the effort would
+produce but meagre results. But such instances are the exception, not
+the rule. The lyric artist who is gifted merely with a beautiful
+voice, over which he has acquired but imperfect control, is at the
+mercy of every slight indisposition that may temporarily affect the
+quality and sonority of his instrument. But he who is a "singer" in
+the real and artistic sense of the word, he who has acquired skill in
+the use of the voice, is armed at all points against such accidents.
+By his art, by clever devices of varied tone-colour and degrees of
+intensity, he can so screen the momentary loss of brilliance, etc., as
+to conceal that fact from his auditors, who imagine him to be in the
+possession of his normal physical powers. The technical or mechanical
+part of any art can be taught and learned, as I have said. It is only
+a case of well-guided effort. Patience and unceasing perseverance will
+in this, as in all other matters, achieve the desired result. Nature
+gives only the ability and aptitude to acquire; it is persistent study
+which enables their possessor to arrive at perfection. Serious and
+lasting results are obtained only by constant practice. It is a
+curious fact that many people more than usually gifted arrive only at
+mediocrity. Certain things, such as the trill or scales, come
+naturally easy to them. This being the case, they neglect to perfect
+their _agilita_, which remains defective. Others, although but
+moderately endowed, have arrived at eminence by sheer persistence and
+rightly directed study. It is simply a musical version of the Hare and
+the Tortoise.
+
+       *       *       *       *       *
+
+But we must make a great distinction between the preliminary exercises
+which put the singer in full possession of the purely mechanical
+branch of his art (Technique), and the aesthetic studies in Taste and
+the research for what dramatic authors call "the Science of Effect,"
+or Style. The former must be thoroughly accomplished, otherwise the
+latter cannot be undertaken satisfactorily. A good and reliable
+technique is undoubtedly of primary necessity. But it is by no means
+all. One may have a voice which is well-posed and of good resonance,
+and also have sufficient flexibility to perform neatly all the rapid
+passages with which the pages of the classic composers abound. But
+this is not singing; nor is the possessor of these an artist. He has
+simply the necessary and preliminary knowledge which should enable him
+to become one, by further study of the aesthetic side of the art of
+singing. He has, as it were, collected the materials necessary for the
+erection of a splendid edifice, and has now to learn the effective
+means of combining them. So, when the voice is "formed," a frank and
+easy emission obtained, a sufficiency of Technique acquired, the next
+step in the singer's education is the practical study of the problem
+of Style.
+
+
+
+
+CHAPTER III
+
+ANALYSIS OF STYLE
+
+
+What is Style?
+
+In reality the question is two-fold. One may have Style; and one may
+have _a_ style. The former is general; the latter individual. The
+former can be taught and learned, for it is based on certain
+well-defined rules; the latter is personal--in other words, is not
+universally applicable. Not infrequently it is a particular
+application of those rules which gives the impress of originality. But
+correct taste must first be formed by the study of the noblest
+creations in the particular art that claims attention. In singing, as
+in the sister arts, the laws which govern Style must be apprehended
+and understood before Individuality can be given full scope.
+Otherwise, what to the executant would appear as original might, to
+correct taste and judgment, appear ridiculous and extravagant. A
+genius is sometimes eccentric, but eccentricity is not genius. Vocal
+students should hear as many good singers as possible, but actually
+imitate none. A skilled teacher will always discern and strive to
+develop the personality of the pupil, will be on the alert to discover
+latent features of originality and character. He will respect and
+encourage individuality, rather than insist upon the servile imitation
+of some model--even though that model be himself. As the distinguished
+artist Victor Maurel has justly observed: "Of all the bad forms of
+teaching singing, that by imitation is the worst" (_Un Probleme
+d'Art_).
+
+In singing, as in painting, a copy has never the value of the
+original. Moreover, slavish imitation in any art has a deleterious
+influence. But to respect irreproachable examples and fitly observe
+sound rules, whose very survival often justifies their existence and
+testifies to their value, is always of benefit to the artist. To
+imitate is to renounce one's individual expression of an ideal and
+present that of another. But to observe established and accepted laws,
+laws founded on Truth and consecrated by Time, is not to imitate, when
+those laws are applied in an original and individual manner that is in
+harmony with the personality of the interpreter. "_L'art est un coin
+de Nature vu a travers un temperament._" In literature, each writer
+has his own special style which may easily be recognized; but all
+follow the same grammatical rules. A correct style in singing consists
+in the careful observance of the principles of Technique; a perfect
+Diction; the appropriate Colouring of each sentiment expressed;
+attention to the musical and poetic Accents; judicious and effective
+Phrasing (whether musical or verbal), so that the meaning of both
+composer and poet may be placed in the clearest light.
+
+       *       *       *       *       *
+
+Let us analyze Style in its three principal aspects: Colour, Accent,
+and Phrasing.
+
+
+COLOUR
+
+Of all the elements of Style in singing, the most potent and
+effective--the one, indeed, that is essential for the success of the
+lyric artist--is the ability to vary the vocal timbre; that is, to
+sing with Colour. This desideratum of varied tone-colour is sought
+even by instrumentalists. Nay, the instrument itself is sometimes
+constructed with this object in view. Witness the invention of the
+"soft" pedal, which is intended not solely to reduce the intensity of
+tone in the pianoforte--that may be accomplished by a modification of
+force in striking the note--but to give the tones a darker, more
+sombre quality, or colour. To vary the tone-colour, a violinist or
+'cellist draws the bow across the strings close to, or distant from,
+the bridge, in accordance with his desire for a reed-like or
+flute-like quality of tone. Anyone who has listened to the performance
+of the slow movement in Paganini's Concerto in _D_, by an Ysaye or a
+Mischa Elman, will have remarked how the skilful use of varied tone
+colour and other devices imparts a wonderful charm to music
+intrinsically of but mediocre value.
+
+A singer may have a good quality of voice; but that is normal. If he
+can vary it only in degrees of loudness (Intensity) and not in
+differences of timbre (Colour) he cannot be ranked as an artist. No
+matter how great the natural beauty and sonority of his voice, his
+performance will always be monotonous, if he has only one tint on his
+vocal palette. In speech--from which the effect is borrowed--utterances
+of grave and serious meaning, and those of gayer import, are not made
+with the same colour of voice. A brighter quality (_voix claire_) is
+used instinctively for an ejaculation uttered by one to whom pleasant
+or joyful news has been communicated. On the contrary, should it be
+the cause of sorrow or grief for the listener, he will use--should he
+have occasion to reply--a darker quality of voice (_voix sombre_).
+Such phenomena are physiological. The vocal organs are the most
+sensitive of any in the human economy: they betray at once the mental
+condition of the individual. Joy is a great tonic, and acts on the
+vocal cords and mucous membrane as does an astringent; a brilliant and
+clear quality of voice is the result. Grief or Fear, on the other
+hand, being depressing emotions, lower the vitality, and the
+debilitating influence communicates to the voice a dull and sombre
+character.
+
+On this question of colour in the voice, the masterly writer and
+critic Legouve says: "Certain particular gifts are necessary if the
+speech is to possess colour. The first of these is Metal in the voice.
+He who has it not will never shine as a colourist. The metal may be
+gold, silver or brass; each has its individual characteristic. A
+golden voice is the most brilliant; a silvery voice has the most
+charm; a brassy voice the most power. But one of the three
+characteristics is essential. A voice without metallic ring is like
+teeth without enamel; they may be sound and healthy, but they are not
+brilliant.... In speech there are several colours--a bright, ringing
+quality; one soft and veiled. The bright, strident hues of purple and
+gold in a picture may produce a masterpiece of gorgeous colouring; so,
+in a different manner, may the harmonious juxtaposition of greys,
+lilacs and browns on a canvas by Veronese, Rubens, or Delacroix.
+
+"Last of all is the velvety voice. This is worthless if not allied
+with one of the three others. In order that a velvety voice may
+possess value it must be reinforced (_doublee_) with 'metal.' A
+velvety voice is merely one of cotton."[1]
+
+[Footnote 1: These admirably expressed views illustrate and exemplify
+the principles I laid down in a _conference_ (Paris, 1902) on
+Voice-Production (_Pose de la Voix_), wherein I demonstrated the
+possibility of acquiring, by the aid of the resonating cavities, a
+greater sonority, more in conformity with the demands and necessities
+of present-day music.]
+
+It may be of interest to notice that the quality which in France is
+designated "timbre," is called by the Italians "_metallo di voce_,"
+or, "metal of the voice." Those who heard Madame Sarah Bernhardt
+fifteen or twenty years ago will readily understand why her countless
+friends and admirers always spoke of her matchless organ as "_la voix
+d'or_."
+
+The late Sims Reeves, the famous tenor, was a perfect master of all
+varieties and shades of vocal colour, and displayed his mastery with
+certainty and unfailing effect in the different fields of Oratorio and
+Opera. In the recitative "Deeper and deeper still," with its
+subsequent aria "Waft her, angels, through the skies" [Handel], he
+ranged through the entire gamut of tone-colour. As Edgardo in
+Donizetti's _Lucia di Lammermoor_, he launched the "Maladetta" phrase
+of the curse with a voice that was almost "white" with frenzied rage;
+while the pathetic sombre quality he employed in the "_Fra poco a me
+ricovero_" fitly accorded with the despairing mood and gloomy
+surroundings of the hapless Edgardo.
+
+Some singers control but two colours or timbres--the very clear (open)
+and the very sombre (closed), which they exaggerate. In reality,
+however, the gradations between them can be made infinite by the
+artist who is in possession of the secret--especially if he has the
+ability to combine Colour with Intensity.
+
+An illustration of this is found in the example cited in the opening
+paragraph of the present work:--"For now is Christ risen." Not only
+did Mme. Tietjens make a gradual _crescendo_ from the first note to
+the climax, but the tonal colours were also subtly graduated from a
+comparatively sombre quality to one of the utmost clearness and
+brilliance.
+
+[Music: As sung by Mme. Tietjens
+
+For now is Christ risen, for now is Christ risen from the dead.]
+
+As contrasting examples in which the two principal colours may be
+employed effectively, I may cite the Bacchic air, "_O vin, dissipe la
+tristesse_," and the pensive monologue, "_Etre, ou ne pas etre_," both
+from the opera _Hamlet_, by Ambroise Thomas. The forced, unnatural
+quality of the first calls for the use of a clear, open, brilliant
+timbre.
+
+[Music:
+
+O vin, dissipe la tristesse
+Qui pese sur mon coeur!
+A moi les reves de l'ivresse,
+Et le rire moqueur!]
+
+But for the second, "To be, or not to be":
+
+[Music:
+
+Etre, ou ne pas etre! o mystere!
+Mourir! dormir, dormir!]
+
+a sombre, closed timbre is necessary. The opening recitative of
+Vanderdecken in _Der fliegende Hollaender_ by Wagner would be absurd,
+and utterly out of harmony with the character and his surroundings, if
+sung in the open timbre. Perhaps I ought to explain that "open" (_voix
+claire_, Fr.), and "closed" (_voix sombre_, Fr.), are technical terms,
+of which the equivalents are accepted in all countries where the art
+of singing is cultivated; terms that apply to _quality_ of tone, not
+to the _physical_ process by which these effects are produced. Such a
+mistake is not infrequently made by vocal physiologists who are not
+practical musicians or singing-teachers. Nor must the term "clear
+timbre" be understood to mean the "white voice" ("_voix blanche_," or
+"_voce bianca_"); this, like the guttural timbre, being only
+occasionally employed for the expression of some violent passion, such
+as hate.
+
+Like the admirable paintings of Eugene Carriere, for instance his
+masterly portrait of Paul Verlaine, a song, sometimes an entire role,
+may be worked out in monochrome; though the gradations of tint are
+numerous, they are consistently kept within their preconceived
+colour-scheme. Some few exceptional singers, like Jean-Baptiste Faure
+or Maurice Renaud, have this gift of many shades of the one colour in
+their singing of certain roles. The colour is determined by the
+psychological character of the personage portrayed; a gay, reckless
+Don Giovanni calls for a brighter colouring throughout than that
+necessitated by the music allotted to a gloomy Vanderdecken or an
+embittered and vengeful Rigoletto. One may, therefore, formulate the
+following rule: The general character of the composition will decide
+the tonal colour appropriate for its general interpretation; the
+colouring necessary for its component phrases will be determined by
+the particular sentiment embodied in them. Emotions like sorrow, fear,
+despair, will find fitting expression in the sombre quality of voice,
+graduated in accordance with the intensity of the emotion. The
+opposite sentiments of joy, love, courage, hope, are fittingly
+interpreted by gradations of the clear and brilliant timbre. The dark
+or sombre voice will be used in varying shades for the recitative from
+_Samson_ (Handel), "Oh, loss of sight:"
+
+[Music: Oh, loss of sight, of thee I most complain!]
+
+while the clearest and most brilliant timbre possible to be obtained
+is plainly indicated for the same composer's "Sound an alarm!" from
+_Judas Maccabaeus_.
+
+[Music: Sound an alarm, your silver trumpets sound!]
+
+It was a rule formulated by the old Italian school of singing, when
+_l'arte del bel canto_ in its true sense did really exist, that no
+phrase--musical or verbal--should be repeated with the same nuances.
+Very many instances might be given of the happy effect obtained by
+observing this rule. One will suffice. It is taken from the Lamento of
+Queen Catherine (of Aragon), who, slighted by Henry VIII. for Anne
+Boleyn, sighs for her native Spain.
+
+[Music: Lamento
+
+Henri VIII: Act IV
+
+Saint-Saens
+
+Mon Espagne cherie! Mon Espagne cherie!]
+
+Sudden contrasts of colour are of great dramatic effect. A good
+illustration is found in the air "_Divinites du Styx_," from Gluck's
+_Alceste_. This contrast is still further heightened by a sudden
+change of both Intensity and Tempo.
+
+[Music:
+
+Divinites du Styx!
+Divinites du Styx!
+Ministres de la mort!]
+
+This last phrase, "_Ministres de la mort!_" should be sung in a very
+sombre voice of almost guttural character.
+
+It is, indeed, in the recitatives and declamatory passages of Gluck,
+Handel, Sacchini, that lyric artists will find unsurpassable material
+for study. Requiring, as such works do for their perfect
+interpretation, all the resources of Colour, Accent, and Phrasing,
+such study is the best possible preparation for the fitting musical
+presentment of the lyric drama in some of its later phases.
+
+Colour, then, is the basic element of Style in singing. It is
+reinforced by Accent, which, as the name implies, is the accentuation
+of details that require to be brought into prominence. This subject,
+therefore, next claims attention.
+
+       *       *       *       *       *
+
+ACCENT
+
+In singing, two kinds of accent are recognized, the Musical accent,
+and the Poetic, or Verbal, accent. The first appertains to the domain
+of sound; the second, to the domain of significance. The first, for
+aesthetic reasons, throws into relief certain tones of a musical
+phrase; the second brings into prominence the sentiment underlying the
+poem or text. Note, also, that in spoken declamation, accent applies
+to a syllable only; in singing, the verbal accent affects an entire
+word.
+
+In its relation to Style, the Musical accent must be carefully
+distinguished from the Metrical accent which is determined by Time, or
+Measure, as well as from the Verbal accent whereby the import of a
+word is rendered clear to the listener. Here is an example of Musical
+accent, from Act III of Verdi's _Ballo in Maschera_:
+
+[Music: Saper vorreste di che si veste quando l'e cosa ch'ei vuol
+nascosa.]
+
+The accents (marked thus [accent symbol]) give to the musical phrase a
+piquancy that is admirably in keeping with the gay and careless
+character of the page, Oscar, who sings it. In fact, as regards Style,
+Musical accent is particularly valuable in song for the purpose of
+setting forth the true character of the music. Hence, it may be
+regarded as a means of characterization.
+
+This use of accent for characterization is also quite distinct from
+its use with "accidentals," or tones foreign to the prevailing
+tonality. In the former case, sentiment dictates its employment; in
+the second, the accent guarantees, as it were, the accuracy of the
+singer's intonation. By the faint stress laid on the foreign tone,
+the listener is assured that the executant is not deviating from the
+true pitch. In the following examples, the tones marked [accent
+symbol] are "accidentals," and for that reason should receive a faint
+stress. The first example is from _La Forza del Destino_.
+
+[Music: Verdi
+
+Madre, Madre, pietosa Vergine, perdona al mio peccato, m'aita
+quell'ingrato]
+
+[Music: "Je dis que rien"
+
+Carmen: Act III
+
+Bizet
+
+Vous me protegerez, Seigneur!]
+
+These different uses of accent are well illustrated in the following
+example.
+
+[Music: "Come unto Him"
+
+Messiah
+
+Handel
+
+Take His yoke upon you, and learn of Him.]
+
+The tone allotted to the second syllable of the word "upon" is
+accentuated to affirm the accuracy of the singer's intonation; the
+slight emphasis of the word "Him" brings into relief the meaning of
+the text. This latter, then, is an illustration of Verbal, or
+"Poetic" accent which, I repeat, throws into relief, without
+consideration of its musical value or position, some word of special
+significance in the verbal phrase. To render the poetic meaning of the
+text clear to the listener, a correct use of verbal accent is
+imperative. Its importance and effect, particularly in recitative and
+declamatory singing, are analogous to the importance and effect of
+emphasis in spoken language. The example is from _Samson_ (Handel):
+
+[Music: O loss of _sight_, of _thee_ I _most_ complain.]
+
+Here I may point out that in _cantabile_ phrases the stream of sound,
+notwithstanding its division into syllables by the organs of
+articulation--lips, tongue, etc.--should pour forth smoothly and
+uninterruptedly. The full value of each tone must be allotted to the
+vowel; the consonants which precede or end the syllables are
+pronounced quickly and distinctly. In declamatory singing, on the
+contrary, the consonants should be articulated with greater
+deliberation and intensity.
+
+[Music: Handel (Messiah)
+
+I _know_ that my Redeemer liveth.]
+
+Here an emphatic accent on the consonant "n" irresistibly suggests the
+idea of knowledge; that is, of absolute certainty, not of mere
+belief.
+
+Very frequently the metrical accent does not coincide with the
+syllabic accent: the musical accent will fall on an unaccented
+syllable, or vice versa. Particularly is this the case when the
+composer is not perfectly familiar with the rules that govern the
+prosody of the language to which he is setting music. In the operas of
+Meyerbeer many passages occur in which it is necessary to readjust the
+syllables to the notes on account of their misplaced accent. Here is
+an illustration from Hoel's Grand Air in _Le Pardon de Ploermel_
+(Meyerbeer), Act II. (Note that the tonic accent in French falls
+_always_ on the last pronounced syllable.)
+
+[Music: (as printed)
+
+Et ranimez, ra_ni_mez ma foi.]
+
+The error is easily remedied:
+
+[Music: (should be sung)
+
+Et ranimez, rani_mez_ ma foi.]
+
+In the contralto aria "He shall feed His flock," in Handel's
+_Messiah_, the unaccented word "shall" falls on the most strongly
+accented note of the bar. If performed thus, it would give a most
+aggressive character to the passage, implying that some one had
+previously denied the assertion. This would be entirely at variance
+with the consolatory and peaceful message that is contained in the
+text and shadowed forth in the music.
+
+[Music: (as printed)
+
+He shall feed his flock like a shepherd.
+
+(should be sung)
+
+He shall feed his flock like a shepherd.]
+
+Instances of faulty syllabic accent abound in Handel's works, both his
+English oratorios and his Italian operas. Many examples could be
+quoted. Here is a phrase from the beautiful air for mezzo-soprano sung
+by Ruggiero in the opera of _Alcina_.
+
+[Music: (as printed)
+
+Verdi prati.
+
+(should be sung)
+
+Verdi prati.]
+
+In Mendelssohn's _Elijah_, the following phrase is nearly always sung
+as written, unless the singer is familiar with the best traditions:
+
+[Music: Give me _thy_ son!]
+
+It may be that the artists who slavishly follow the published text
+fear being accused of altering the composer's music, or are ignorant
+of the fact that there exists a better version, which is this:
+
+[Music: Give _me_ thy son!]
+
+It will be seen that the music is not changed in the least; the
+musical and verbal accents have been merely readjusted and made to
+coincide.
+
+In order to avoid the disagreeable effect of singing one half-bar
+_andante_ to the syllable "_si_" (pronounced like "zee" in English),
+the following phrase of Marguerite de Valois in _Les Huguenots_
+(Meyerbeer), Act II, is changed thus:
+
+[Music: (as printed)
+
+en aucun temps n'eut choisi mieux.
+
+(should be sung)
+
+en aucun temps n'eut choisi mieux.]
+
+       *       *       *       *       *
+
+INTENSITY
+
+In musical terminology every gradation of volume in sound, from the
+faintest to the loudest, enters into the category of Intensity. One of
+the accepted rules of the _arte del bel canto_ was, that every
+sustained tone should be coloured by some graduation of intensity.
+Thus the ability to augment and diminish the volume of tone was so
+highly esteemed--indeed, so essential--that singers spent much time in
+acquiring the _messa di voce_, that is, the steadily graduated
+emission of tone from the softest degree to the loudest and again to
+the softest: _p_ [crescendo symbol] _f_ [decrescendo symbol] _p_. This
+exercise invariably formed a part of each day's study, and was
+practised on several vowels throughout the scale, except the extreme
+tones, save in rare instances. It was, in fact, indispensable that the
+singer should be able to colour every tone in three forms of graduated
+intensity: Soft to loud _p_ [crescendo symbol] _f_; loud to soft _f_
+[decrescendo symbol] _p_; and soft to loud and soft again _p_
+[crescendo symbol] _f_ [decrescendo symbol] _p_.
+
+This command of intensity, therefore, is invaluable. But it is even
+more effective when the artist has the power to combine the various
+gradations of Intensity with different shades of Colour; in other
+words, when he can sing a tone _crescendo_ and _diminuendo_ in the
+clear and sombre timbres.
+
+The passage, already cited, from Alceste's great air in Gluck's opera
+_Alceste_, furnishes an admirable illustration of the dramatic emotion
+created by a sudden contrast of Intensity as well as Colour. In the
+invocation "Ye ministers that dwell in night!" the clear timbre is
+used with gradually increasing volume until at the phrase (sung
+_adagio_) "Ministers of death!" the timbre changes abruptly to a
+sombre quality with sinister effect, which effect is augmented by
+being sung _pp_.
+
+[Music: Gluck (Alceste: Act I)
+
+Divinites du Styx!
+Divinites du Styx!
+Ministres de la mort!]
+
+A still more striking example of the impressive effect produced by
+sudden contrasts of intensity is offered in the magnificent air "Total
+Eclipse," from _Samson_ (Handel). In it, a judicious use of
+tone-colour, accent, and variations of tempo, all combine to elucidate
+in the highest possible degree the idea of both composer and poet:
+
+[Music: Sun, moon and stars, sun, moon and stars are _dark_ to me.]
+
+The words "Sun, moon and stars" should be given strongly accentuated,
+and the tempo gradually accelerated. The repetition of the phrase
+should be sung with still greater intensity; then, at the passage "are
+dark to me," the colour of the voice changes to one of very sombre
+quality, and the original tempo is resumed. The first consonant in the
+word "dark" should receive a slight stress.
+
+The _crescendo_ has always been a favourite device of composers,
+particularly of those who write for the lyric theatre. It was an
+effect held in high esteem by Rossini, who introduced it constantly in
+his operas--witness his overtures and ensembles. All are familiar with
+the wonderful _crescendo_ which precedes the appearance of the Knight
+of the Swan, in _Lohengrin_, where the sonorities are augmented by
+gradual additions of voices and instruments until the culminating
+point is reached. An instance more poignant still is found in the
+great "Liebestod" in _Tristan und Isolde_.
+
+Although Herold, the French composer, observed that in working up to a
+climax one should begin a long way off, a singer must be careful not
+to reach his maximum of vocal sonority before the musical climax is
+attained. The tenor Duprez created a sensation that is historic, in
+the long _crescendo_ passage in the fourth act of _Guillaume Tell_, by
+gradually increasing the volume of sound, as the phrase developed in
+power and grandeur, until the end, which he delivered with all the
+wealth of his exceptionally resonant voice.
+
+Before closing this chapter on Intensity, I should advise singers
+whose voices possess great natural volume or power not to abuse this
+valuable quality by employing it too frequently. The ear of a listener
+tires sooner of extreme sonority than of any other effect. Talma, the
+great actor, wrought many reforms on the French dramatic stage, not
+only in costume--prior to his time Greek or Roman dress only was worn
+in tragedy--but also in the manner of delivering tragic verse. Against
+the custom, then prevalent, of always hurling forth long tirades at
+full voice, he inveighed in these terms: "Of all monotonous things,
+_uproar_ is the most intolerable" (_de toutes les monotonies, celle de
+la force est la plus insupportable_). An artistic singer will use his
+most powerful tones, as a painter employs his most vivid colours,
+sparingly.
+
+       *       *       *       *       *
+
+PHRASING
+
+Phrasing is simply musical punctuation. In singing, it may be
+separated, like accent, into two divisions: Musical and Poetic, or
+Verbal, phrasing. If the following passage were performed by an
+instrument, it would not require any particular grouping or phrasing:
+
+[Music]
+
+But when sung, it would fail in effect if not performed with a very
+slight pause after the word "nobis," thus:
+
+[Music: Ave Maria
+
+Luzzi
+
+Ora pro nobis, Maria.]
+
+As another illustration of the excellent effect of correct phrasing
+may be cited the song _Psyche_, by Paladilhe. Its effect is heightened
+if the musical phrasing be judiciously combined with a change in
+Colour and Intensity:
+
+[Music: Quand il les flatte, j'en murmure!]
+
+(Should be sung):
+
+[Music: Quand il les flatte, j'en murmure!]
+
+It is the clashing of the Musical and Verbal phrasings that often
+makes translations of lyric works unsatisfactory. The two phrases are
+independent, not welded together. So far from being "Music wedded to
+immortal Verse," these instances resemble those _menages_ wherein each
+unit leads a separate existence. When this is the case, the singer
+must decide as to whether the musical phrase, or the poetic phrase,
+demands the greater prominence.
+
+The following Phrasing and Colouring would be good and effective if
+the passage were played on an instrument:
+
+[Music]
+
+But if sung thus, as it sometimes is by careless artists who pay
+little attention to the verbal significance of what they are singing,
+it would sound absurd, because the poetic phrasing is entirely
+ignored. The correct way of performing the passage (from the aria "Voi
+che sapete," in Act II of Mozart's _Nozze di Figaro_) is the
+following:
+
+[Music: Donne, vedete, s'io l'ho nel cor.]
+
+In the next extract (from Act IV in _Un Ballo in Maschera_, by Verdi),
+it will be noticed how oblivious the composer was of the claims of
+verbal phrasing. The whole _scena_ is admirably written for the
+voice, and contains many graceful passages of great melodic charm. But
+although the music may claim to represent the character of the
+situation as a whole, it is disfigured by the complete disregard of
+the sense of certain groups of words:
+
+[Music: Come se fosse l'ultima ora del nostro amor, come se fosse
+l'ultima, l'ultima ora, ora del nostro amor, del nostro amor? Oh, qual
+presagio m'assale, come se fosse l'ultima ora del nostro amor, se
+fosse l'ultima del nostro amor]
+
+The words "_come se fosse l'ultima ora del nostro amor_," constitute
+one phrase. It would be extremely difficult, impossible even, for
+many, to sing the passage in one breath. But the first musical phrase
+ends after the word "_ultima_;" to separate it from the next word,
+"_ora_" (second and third bars), thus: "last--hour," is impracticable.
+It would be out of the question to destroy the musical phrase by
+breathing after the word "_ora_," in the third bar. If the text is
+phrased when spoken as it is when sung, the incongruity is at once
+apparent. The published score gives a pause [fermata symbol] after the
+word "_ora_:" "_ultima ora_ [fermata symbol] _del nostro amor_." This
+phrasing is good and effective, especially if the artist changes at
+once to the sombre quality after the pause, and finishes the phrase
+_piano_ and _rallentando_. One very often hears it, however, given
+with a pause for breathing after the high _a_; the unfortunate singer
+having prolonged the tone until, in order to continue, he is compelled
+to take in more air. The result is the absurd phrasing given below:
+
+[Music: l'ultima ora del nostro amor]
+
+In the final cadenza, the composer has cut out the word "ora"
+altogether. The whole air is of interest to the musical student, as it
+shows clearly the little value attached by Verdi, at that period of
+his career, to the exigencies of the verbal or poetic phrase. This
+neglect of the verbal punctuation is in marked contrast to the care he
+bestowed on it in his later works, witness _Aida_, _Otello_, and
+particularly _Falstaff_.
+
+Here I may say that it is sometimes necessary to alter the words on
+account of the impossibility of performing certain passages as
+written. In the earlier published scores of _Samson et Dalila_
+(Saint-Saens), the following passage in Act II, "Mon coeur s'ouvre a
+ta voix," as the composer wrote it, occurs as one phrase:
+
+[Music: Ah! reponds a ma tendresse!]
+
+This being impracticable of execution in one phrase, and there being
+no opportunity of retaking breath until the close of the passage, it
+was altered in the later editions, and now stands thus:
+
+[Music: Ah! reponds, reponds a ma tendresse!]
+
+This device of repetition, applied either to a word or to part of a
+phrase, is perfectly justifiable in cases where the artist, for
+physical reasons, is unable to sing the phrase in one breath. I give
+an excerpt from Weber's _Der Freischuetz_ (Grand Air, Act II):
+
+[Music: Oh lovely night!]
+
+This may be sung:
+
+[Music: Oh lovely, lovely night!]
+
+The concluding bars of the waltz-song in Act I of Gounod's _Romeo et
+Juliette_, are often phrased as indicated in the brackets, in order to
+give the singer a chance to take breath, which is done after the _c_
+natural:
+
+[Music: Ah! (comme un tresor.) comme un tresor.]
+
+As discrepancies between the musical and verbal phrases, such as those
+I have instanced, abound in certain of the old operas which still keep
+the stage and form a part of the permanent repertoire of every lyric
+theatre, the artists singing them are compelled to choose between
+sacrificing the words or the music. The former alternative is
+generally preferable, the musical phrase in many such cases being of
+the greater relative importance. Another way is, to meet the
+difficulty boldly by supplying another text which mates itself more
+happily with the musical phrase. Personally, I adopt the latter
+alternative without hesitation, when preparing artists to sing these
+works.
+
+       *       *       *       *       *
+
+Some minor effects utilized in Style in singing may be briefly alluded
+to: _Portamento_; variations of _Tempo_.
+
+
+PORTAMENTO
+
+This is effected by the voice gliding from one tone to another, and is
+equally available on stringed instruments, the violin or 'cello, the
+mandoline or zither. It is a grace of style much abused by inartistic
+singers. Being an ornament, good taste dictates that it be used
+sparingly. A frequent sliding from one tone to another is a grave
+fault, and most disagreeable to a cultivated ear. To sing _legato_ is
+one thing; to sing _strisciato_ is another. Hence, its use on two
+consecutive occasions is rarely admissible. But without a sober and
+discreet use of the _portamento_, the style of the singer appears
+stiff, angular--lacking, as it were, in graceful curves.
+
+It must always be performed by carrying the tone and syllable to the
+next tone; never by anticipating the latter:
+
+[Music: Mozart (Nozze di Figaro)
+
+Do Fa Deh vieni, non tardar,]
+
+But it sometimes happens that, while desiring this grace, the composer
+does not indicate his wish quite correctly. Here is an instance by F.
+Thome:
+
+[Music: Et nous dansions un bolero.]
+
+Were it performed as printed, it would be very bad style, as it
+violates the rule that the succeeding syllable shall not be
+anticipated. Undoubtedly, what the author wished is the following:
+
+[Music: Et nous dansions]
+
+Sometimes the composer himself indicates clearly his intention that
+this effect should be used, as in the following examples:
+
+[Music: Reyer (La Statue)
+
+Pour s'evanouir, au reveil.]
+
+[Music: Celeste Aida
+
+(Aida: Act I)
+
+Verdi
+
+Del mio pensiero tu sei regina, tu di mia vita sei lo splendor.]
+
+[Music: Song "Heure du Soir" for Tenor
+
+Leo Delibes
+
+Partout s'eleve un chant bien doux, un chant bien doux,
+Sous la brise toute embaumee.]
+
+[Music: From "La Boheme," Act I
+
+Puccini
+
+Mi chiamano Mimi, ma il mio nome e Lucia.]
+
+(Notice the phrases marked _a_ and _b_.)
+
+The words and indications for the use of the _portamento_ in each of
+these last four examples are by the respective composers, and as
+printed in the published editions.
+
+A _portamento_ should never be sung so slowly as to convey the idea of
+a badly executed chromatic scale; and, as a rule, it is best not to
+use one between any lesser interval than a third, unless for some
+particular effect, or at the close of a slow movement, as in the aria
+"He was despised," in _The Messiah_:
+
+[Music: and acquainted with grief.]
+
+It is also effective in connecting syllables in phrases of a smooth,
+lyric character:
+
+[Music: Nozze di Figaro: Act II
+
+Mozart
+
+(as printed)
+
+in braccio al idol mio.
+
+(should be sung)
+
+in braccio al idol mio.]
+
+The _portamento_ being an embellishment that pertains to the
+_cantabile_, it is very little used in declamatory singing.
+
+But frequently in the Recitatives of classic works occur phrases of
+declamatory recitative, interspersed with passages that are purely
+lyric in structure. To each of these divisions must be given its
+appropriate style. For instance, after the opening phrases of
+Obadiah's exhortation, "Ye people, rend your hearts," in _Elijah_, up
+to the end of the phrase "Return to God," all is purely lyric
+declamation. But at the words, "For He is slow to anger, and
+merciful," this should cease, and the succeeding phrases be given with
+all the graces that are permissible in _cantabile_ singing; not in the
+hard, dry manner affected by some of the modern tenors in oratorio.
+
+[Music: I therefore say to ye, Forsake your idols, return to God; for
+He is slow to anger, and merciful.]
+
+       *       *       *       *       *
+
+VARIATIONS OF TEMPO
+
+These are of value in bringing out the musical and poetic significance
+of certain compositions; notably the operas of Bellini, Donizetti, and
+the earlier works of Verdi. But I would caution singers to exercise
+discretion in this much-abused effect. Variations of Tempo, the
+_ritardando_, _accelerando_, and _tempo rubato_, are all legitimate
+aids demanded by Expression. But unless their use is determined by
+sound judgment and correct musicianly taste, the effect speedily
+becomes vulgar and monotonous. Knowledge, and a taste formed in good
+schools, must be the guide of the vocalist in the use of variations of
+tempo.
+
+I have said that the operas of Bellini, Donizetti and Verdi abound in
+instances requiring the hastening or slackening of the tempo. But the
+device is also highly esteemed by the ultra-modern Italian school, as
+may be seen in studying the scores of Puccini, Mascagni and
+Leoncavallo.
+
+Here is an illustration of its effective use in the air "Connais-tu le
+pays?" from _Mignon_ (Act II), by Ambroise Thomas. Madame Christine
+Nilsson (Countess Casa Miranda), who "passed" the role with the
+composer, always sang the phrase thus, although these indications do
+not appear in the published version:
+
+[Music: Helas! que ne puis-je te suivre, vers ce rivage heureux, d'ou
+le sort m'exila!]
+
+Again, in the fine song _Der Asra_, by Rubinstein, the musical, as
+well as the dramatic, effect of the poem is heightened by the use of
+the _accelerando_, which interprets with musical vividness the
+impetuous avowal by the slave of his passion for the princess, after
+his calm answer to her questions as to his name and birthplace.
+
+"_Ich heisse Mahomet, ich bin aus Yemen, und mein Stamm sind jene
+Asra, welche sterben, wenn sie lieben._" (HEINE.)
+
+[Music: und mein Stamm sind jene Asra, welche sterben, wenn sie
+lieben.]
+
+
+
+
+CHAPTER IV
+
+TRADITION
+
+
+Tradition plays a more important part, perhaps, in the interpretation
+of the classic composers' writings for the voice than it does in their
+purely instrumental works. The old masters left few--sometimes not
+any--indications as to the manner in which their music should be
+rendered. Thus its proper performance is largely determined by
+received oral tradition. The printed scores of the classics, except
+those that have been specially edited, throw little light on their
+proper interpretation, or even at times on the actual notes to be
+sung. To perform exactly as written the operas of Gluck, notably
+_Armide_ and _Orphee_, the operas of Mozart, the Italian operas and
+English oratorios of Handel, the oratorios of Bach, Haydn, and
+Mendelssohn, would be to do the greatest injustice to these composers
+and their works.
+
+It is a prevalent idea that all departures from the published text are
+due either to caprice, or to vanity and a desire for personal display
+on the part of the soloist. As though singers had a monopoly of these
+defects!
+
+Let us consider some of the principal causes of such changes in the
+text, and the reasons why these modifications do not always appear in
+the published versions.
+
+In the original editions of many of the earlier operas, as those of
+Mozart, etc., the unaccompanied recitative (_recitativo secco_) is
+not barred. As with the plain-chant of the church, only the _pitch_ of
+the tone is indicated. Its _length_ was left to the discretion of the
+artist, who was supposed to be familiar with the accepted style of
+delivery termed "_recitativo parlante_." The example is from the
+recitative "Dove sono," in Act III of _Le Nozze di Figaro_, by Mozart:
+
+[Music: E Susanna non vien! Sono ansiosa di saper]
+
+This should be sung as below:
+
+[Music: E Susanna non vien! Sono ansiosa di saper]
+
+The substitution of another note for the one actually written, both in
+Recitative and Aria, was also strictly regulated under the system or
+convention then in vogue, one perfectly understood both by composer
+and singer.
+
+In all the earlier Italian operas, and in the English oratorios of
+Handel, this system was followed:
+
+[Music: Recit. "Behold, a Virgin shall conceive"
+
+Messiah
+
+Handel
+
+(sung)
+
+Emmanuel;
+
+(printed)
+
+and shall call his name Emmanuel;]
+
+[Music: Aria. "I know that my Redeemer liveth"
+
+Messiah
+
+Handel
+
+(sung)
+
+liveth
+
+(printed)
+
+I know that my Redeemer liveth]
+
+[Music: Recit. "Non piu di fiori"
+
+La Clemenza di Tito
+
+Mozart
+
+(sung)
+
+Vitellia! costanza
+
+(printed)
+
+Ecco il punto, o Vitellia! d'esaminar la tua costanza]
+
+[Music: "In questa tomba"
+
+Beethoven
+
+(sung)
+
+oscura
+
+(printed)
+
+In questa tomba oscura]
+
+This substitution, therefore, of another note--a tone or semitone
+higher or lower, according to the phrase--is not only legitimate but
+essential in all music written in the Italian manner.
+
+Another cause of changes being necessary in the vocal part of many of
+the older classic writers, particularly of oratorio, is the frequently
+faulty syllabic accentuation. I have already mentioned this defect in
+the chapter on Accent. Handel, for instance, although living nearly
+all his life in England, never became quite master of its language;
+hence the numerous cases of the misplacing of syllables in his
+oratorios. This defect is also noticeable, but not in the same degree,
+in his Italian operas. The books of _Elijah_ and _St. Paul_
+(Mendelssohn), and _The Creation_ (Haydn), were originally written in
+German, and therefore suffer somewhat in this respect when the
+translated English version is given. This fault is also noticeable in
+the English versions of Bach's _Passion_ (St. Matthew), and
+Mendelssohn's _Psalm CXIV_. In the first quoted of these two works, in
+the response for Double Chorus to the question, "Whether of the twain
+will ye that I release unto you?" the accent falls on the first
+syllable "_Ba_-rab-bas"; in the second of the two works (_114th
+Psalm_), the accent is placed on the last syllable, thus:
+"Hal-le-lu-_jah_." Neither of these accentuations is in accordance
+with English custom.
+
+A singer, therefore, is perfectly justified in rearranging the
+syllables in order that, as far as possible, the musical and verbal
+accents shall coincide. But there are rigorists, unaware of the usages
+and conventions previously spoken of, who are very severe in their
+judgment when any deviation is made from the printed score with which
+they follow the performance of classic works. Such severity is
+unmerited, because unjust. Although such persons sometimes inveigh
+against any and every change from the strict letter of the printed
+music--ignorant of the possibility, that only in this way can its
+spirit be respected--the changes in a multitude of cases are essential
+because due (1) to reverential deciphering of an obsolete musical
+notation, (2) to improvements in musical instruments, or (3) to the
+sanction and authority of the composer himself.
+
+Sometimes it is an orchestral conductor who reproaches the solo
+singers with their want of respect for the composer, because he hears
+at times interpolations or changes which find no place in his own
+score. The singers are accused of "altering the composer," of "taking
+liberties with the text." And yet these very changes may be
+traditionally correct; they may be in accordance with rules and
+conditions prevalent at the time the music was written, and employed
+on account of a desire to interpret the composer's own intentions, and
+not from mere vanity or caprice.
+
+Nor are these necessary changes and departures from the printed scores
+of the classics confined to the vocal parts of the music composed by
+the old masters. As a matter of fact, the deviations which, in
+performance, are sometimes made from the printed edition of a musical
+composition, arise from a variety of causes.
+
+One of these is the discrepancy that exists between various editions
+of the same work; and sometimes the confusion is complicated by
+different versions having been prepared by the composer himself. This
+is notably the case with Gluck's _Orphee_, first written to an Italian
+libretto by Calzabigi and produced at Vienna. When Marie Antoinette
+called her former Viennese singing-master, Gluck, to Paris, she gave
+him an opportunity of displaying his genius by facilitating the
+production of his _Iphigenie en Aulide_ at the Opera, in 1774. Its
+enthusiastic reception recalled to the composer the like success which
+had attended the production of his _Orfeo_ at Vienna. He immediately
+set to work to revise it for the Paris Opera, and fit it to a new
+French text, the latter supplied him by Moline.[2]
+
+[Footnote 2: Sir George Grove, in the "Dictionary of Music and
+Musicians," P. 611, says that the French text is by _Moliere_! This is
+a self-evident error.]
+
+But the title-role in the original Italian version was written for,
+and sung by, Guadagni, an artificial contralto (_contralto musico_).
+In its newer French dress the part was transposed and rearranged for
+the tenor Legros; who, judging from the extreme altitude of the
+_tessitura_ employed, must have possessed either a _haute-contre_, or
+a very high light-tenor voice, and who may have employed the falsetto.
+This high _tessitura_, combined with the fact that the pitch has risen
+considerably since it was composed, renders the French version
+impracticable for tenors of the present day. Here are the concluding
+bars of the famous air as written in the original Italian version, and
+the same phrase as altered by Gluck, when produced in Paris.
+
+[Music: "Che faro senz' Euridice?"
+
+Dove andro? Che faro? Dove andro senza il mio ben?
+
+(As originally written by Gluck for the Italian version, Vienna.)]
+
+[Music: "J'ai perdu mon Eurydice"
+
+Sort cruel, quelle rigueur! Je succombe a ma douleur, a ma douleur, a
+ma douleur!
+
+(As altered by Gluck for Paris; sung by the tenor Legros. From a
+manuscript copy, Bibliotheque de l'Opera.)]
+
+[Music: "J'ai perdu mon Eurydice"
+
+Sort cruel, quelle rigueur! Je succombe a ma douleur, a ma douleur, a
+ma douleur!
+
+(As sung by Mme. Viardot-Garcia, Theatre-Lyrique, Paris; the part
+being restored to the original voice and key, but the change at the
+end, made for Legros, retained.)]
+
+The finale to the first act was also changed; a tumultuous "hurry" for
+strings, evidently designed to accompany the change of scene to Hades,
+being now replaced by a florid air, probably introduced at the desire
+of the principal singer as a medium for the display of his vocal
+virtuosity; a concession often exacted from composers of opera. This
+interpolated air was for a long time attributed to a composer--Bertoni--who
+had himself composed an opera on the subject of _Orphee_. Later
+researches have, however, proved that this air is by Gluck himself,
+taken from _Aristeo_, one of his earlier works. When the famous
+revival of _Orphee_ took place at the old Theatre-Lyrique in Paris,
+the role of Orphee was restored to the type of voice--contralto--for
+which it was originally composed, and confided to Mme. Pauline
+Viardot-Garcia. She retained the air introduced for the tenor Legros,
+but of course transposed, and with a reorchestration by Camille
+Saint-Saens; the now famous composer having at that time, by the
+request of Berlioz, undertaken to continue and complete the revision
+of Gluck's complete works, known as the Pelletan Edition.[3]
+
+[Footnote 3: See very interesting article signed C. Saint-Saens in the
+_Echo de Paris_ for July 23, 1911.]
+
+Other changes from the first Italian score were also made by Gluck in
+the later French version. Here is an example; being the recitative
+immediately preceding the great air of Orpheus in the last act:
+
+[Music: (Original Italian version, as written for Vienna.)
+
+Misero me! la perdo, e di nuovo, e per sempre! O legge! O morte! O
+ricordo crudel! Non ho soccorso, non m'avanza consiglio! Io veggo solo
+(Oh fiera vista!) il luttuoso aspetto dell'orrido mio stato! Saziati,
+sorte rea! son disperato!]
+
+[Music:
+
+C'est moi, c'est moi, qui lui ravis le jour.
+Loi fatale! Cruel remords!
+Ma peine est sans egale,
+Dans ce moment funeste,
+Le desespoir, la mort,
+C'est tout ce qui me reste!
+
+(As written for the Paris version, the role of Orphee being then sung
+by a tenor.)]
+
+[Music:
+
+C'est moi, c'est moi, qui lui ravis le jour.
+Loi fatale! Cruel remords!
+Ma peine est sans egale,
+Dans ce moment funeste,
+Le desespoir, la mort,
+C'est tout ce qui me reste!
+
+(As sung by Mme. Viardot-Garcia, the role being then restored to the
+contralto voice as in the Italian version, while the changes made by
+Gluck for the Paris version were retained. This is now definitively
+adopted at the Opera-Comique.)]
+
+Again, discrepancies exist between various published copies of the
+same work, arising from the fact that sometimes the editors of these
+revisions may have mistaken the intentions of the composer. Or,
+influenced by pardonable human vanity, they may have felt impelled to
+collaborate more directly with the composer, by adding something of
+their own.
+
+There is valid reason for the additional accompaniments, with which
+Mozart has enriched the original scores of Handel's _Messiah_ and
+_Alexander's Feast_; and we have evidence of the skill, and can divine
+the reverence, with which these additions were accomplished. But how
+fatal would have been the results, had the delicate task been
+attempted by one in whom these qualities were lacking! Also, there is
+every excuse for the additions made to Gluck's _Armide_ by Meyerbeer
+for the Opera of Berlin; and we have the direct testimony of
+Saint-Saens, who has examined this rescoring, as to the rare ability
+and artistic discretion with which the work has been done.[4]
+
+[Footnote 4: See _Echo de Paris_, _op. cit._]
+
+From this evidence it appears that in the score as left by Gluck, the
+trombones do not appear at all in _Armide_. The drums, and stranger
+still, the flutes, are heard only at rare intervals; while the whole
+orchestration--sometimes a pale sketch of the composer's
+intentions--shows a haste and lack of care in marked contrast with the
+pains bestowed on the scoring of _Alceste_, _Iphigenie_, and _Orphee_.
+The revisions and additions spoken of were undertaken by highly
+competent authorities, actuated only by the wish to restore in its
+purity the idea of the composer; and who to zeal, added the more
+valuable quality of discretion.
+
+Ancient music, owing to the development of and changes in the
+instruments for which it was composed, can rarely be given as written
+by the author. Even if the instruments of modern invention be
+eliminated, the orchestra of to-day is not the orchestra of Handel.
+The oboe, for example, has so gained in penetrating power that one
+instrument to each part now suffices; in Handel's time the feeble tone
+of the oboe rendered a considerable number necessary. The perfection
+of certain instruments, too, is the cause of modifications in the
+music written for them. The limited compass of the pianoforte, for
+example, was certainly the sole reason why Beethoven failed to
+continue in octaves the entire ascending scale in one of his sonatas.
+Had the piano in his day possessed its present compass, he would
+undoubtedly have written the passage throughout in octaves, _i.e._, as
+modern pianists play it. If a rigid adherence to the printed letter of
+ancient music is to be strictly observed, without consideration of the
+many causes that render this procedure undesirable, let consistency be
+observed by pushing the argument to its logical conclusion, _viz._,
+returning to the instruments used, and the composition of the
+orchestra that obtained, when these works were written. Those who
+accuse artists of introducing changes, of not performing the music as
+the composer wrote it, should be quite sure as to what the composer
+really did write, since many changes are made both before and after
+the work is printed. They should also be certain that these changes
+are not such as the composer may have, or would have, sanctioned,
+seeing that by their use his meaning is more clearly expressed.
+
+At the _Concerts Spirituels_, given at the Church of the Sorbonne,
+Paris, may be heard very excellent performances of Oratorio by ancient
+and modern composers, from Handel and Bach to Claude Debussy; though I
+do not know whether or no _l'Enfant prodigue_ (The Prodigal Son), by
+Debussy, is properly styled an oratorio, seeing that it was recently
+given in London on the stage as an opera. These performances at the
+Sorbonne are marked by a reverential attention to detail; the
+soloists, chorus and orchestra being very competent, and the
+conductor--M. Paul de Saunieres--a musician of ability and experience.
+In spite of these great advantages, however, the works of several of
+the old classic composers suffer somewhat, by certain authentic
+traditions and conventions being either unknown or ignored. To cite
+only one instance out of many: At the Sorbonne, the opening bars of
+the second movement of the Recit. in _The Messiah_, "Comfort ye my
+people," etc., are performed as printed:
+
+[Music: The voice of him that crieth in the wilderness]
+
+This music is written in the Italian "manner," consequently its
+performance should be in conformity with the usages and conventions
+which obtained when the work was composed. One of these, as I have
+pointed out, was the substitution of one note for another in certain
+places; another, that in declamatory recitative, or _recitativo
+parlante_, the chord in the orchestra should come _after_ the voice
+("_dopo la parola_"). These words appear in many scores of the Italian
+operas, even of the present day. But when they do not, the musical
+director is supposed to be familiar with the custom. The following,
+therefore, is the authentic mode of performing the passage in
+question:
+
+[Music: The voice of him that crieth in the wilderness]
+
+Apart from these defects in the rendering of the ancient classics, it
+would be unjust not to acknowledge the great artistic merit and value
+of the performances, given--as Oratorio should be--in the church. To
+hear _l'Enfance du Christ_ (Berlioz) as performed at the Sorbonne,
+with its particular facilities for obtaining the _ppp_ effects of the
+distant or receding angelic chorus, is to be impressed to a degree
+impossible of attainment in the concert-room.
+
+Let those purists who resent any "tampering"--as they term it--with
+the composers' music listen to the following phrase, sung as it is
+printed in the ordinary editions:
+
+[Music: the first-fruits _of_ them that sleep.]
+
+Then let them hear it given according to the authentic and accepted
+tradition, and say which of the two versions most faithfully
+interprets the composer's meaning.
+
+[Music: the first-fruits of _them_ that sleep.]
+
+       *       *       *       *       *
+
+Let us now consider alterations which do not appear in the printed
+editions, and yet may have been made or sanctioned by the composer.
+
+In comparison with painting and sculpture, music and the literature of
+the theatre are not self-sufficing arts. They require an interpreter.
+Before a dramatic work can exist completely, scenery, and actors to
+give it voice and gesture, are necessary; before music can be anything
+more than hieroglyphics, the signs must be transmuted into sound by
+singers or instrumentalists. Wagner embodied this truth in his
+pathetic reference to _Lohengrin_: "When ill, miserable and
+despairing, I sat brooding over my fate, my eye fell on the score of
+my _Lohengrin_, which I had totally forgotten. Suddenly I felt
+something like compassion lest the music might never sound from off
+the death-pale paper." In other words, _Lohengrin_, though finished in
+every detail, was merely potential music. To make it anything more,
+the aid of singers and orchestra are essential.
+
+Composers and dramatic authors, in fact, _create_ their art-works; but
+it is their interpreters--actors, singers, instrumentalists--who
+_animate_ them, who breathe life into them. One of the inevitable
+consequences is, that the composer's ideal can never be fully
+attained.
+
+But changes in performance from the printed text of a composition are
+frequently the work of the composer himself. If really an artist, he
+is rarely perfectly satisfied with his completed work. The difference
+between his ideal and his materialization of it, is a source of
+anguish for him. The journey made by a vision of art from the brain
+that conceives it to the hand that imprisons it in marble, or depicts
+it in colour, or pens it in words or music, is a long one. And much
+grace or power, beauty or grandeur, is inevitably lost on the way.
+This is the explanation of the disappointment of all true artists with
+their creations. This is the origin of their endless strivings to
+perfect their works; the first embodiment is not a perfect
+interpretation of the artist's inspiration, and further reflection
+has revealed to him an improvement. The process is endless.
+
+    _A man's reach should exceed his grasp,
+        Or what is Heaven for?_
+
+If one wishes to surprise genius labouring to give birth to
+perfection, one should consult the later editions of Victor Hugo's
+works and note the countless emendations he made after their first
+publication--here a more fitting word substituted, there a line
+recast, elsewhere an entire verse added, or excised, or remodelled.
+
+This work of incessant revision is not restricted to poets. Composers
+of genius are also inveterate strivers after perfection, are
+continually occupied in polishing and revising their music. And not
+all the modifications they make, or sanction, are recorded in the
+printed versions. For many are the outcome of after-thoughts, of ideas
+suggested during the process of what I have called transmuting musical
+hieroglyphics into sound. Such modifications, usually decided upon in
+the course of a rehearsal--I am now considering particularly operatic
+works--are frequently jotted down, a mere scanty memorandum, on the
+singer's part or the conductor's score. But they are the work of the
+composer, or have received his approval, and, although not noted in
+the printed editions of his compositions, are transmitted orally from
+conductor to conductor, singer to singer, master to pupil. And thus a
+tradition is perpetuated.
+
+But the question of changes goes even further.
+
+Prior to the advent of Wagner, the singer was allowed great license
+in operatic works. This license was principally manifested in a
+two-fold form. The first is called _pointage_ (French), _puntatura_
+(Italian), and means the changing of the notes or contour of a musical
+phrase; the second is termed _changements_ or _variantes_ (Fr.),
+_abbellimenti_ or _fioriture_ (It.), and refers to the interpolation
+and addition of ornaments, _i.e._, embellishments and cadenzas.
+
+       *       *       *       *       *
+
+POINTAGE
+
+This, as I have said, is the technical term given to the modification
+or rearrangement of the notes of a phrase, so as to bring it within
+the natural capabilities of the artist singing the role. A few
+illustrations will make the nature of _pointage_ clear.
+
+In Rossini's _Guillaume Tell_, although it is written in a different
+style from his former works, whence less necessity for interpolations
+and modifications, occurs the following terrible passage for the
+principal baritone:
+
+[Music: Mais je connais le poids des fers, mais je connais le poids
+des fers.]
+
+Every vocalist knows the difficulty experienced in singing very high
+tones to different syllables, each requiring a different conformation
+of the buccal cavity. The passage quoted--expressing Tell's bitterness
+at the recollection of his past sufferings in prison, "Well I know the
+weight of galling chain"--has to be declaimed with great energy. So
+far as the relative value of the notes is concerned, it is entirely
+_ad libitum_, the rhythmical figure in the orchestra having ceased one
+half-bar before. It is said that Dabadie, a _basso cantante_ rather
+than baritone, to whom was entrusted the role of Tell on the first
+production of the work at the Opera, Paris, on August 3, 1829, finding
+it impossible to sing the phrase as written, had recourse to a
+professor. He advised the _pointage_ given later. This change became
+traditional, and has since been followed, except, it is said, in the
+case of Massol, who succeeded Dabadie. He, being possessed of a very
+sonorous voice of exceptional compass, was able to give the phrase as
+written. This change, or _pointage_, must have been heard by Rossini,
+and so must have been tacitly approved by him. This is the change made
+by Dabadie:
+
+[Music: Mais je connais le poids des fers, mais je connais le poids
+des fers.]
+
+In Italian lyric theatres, _pointage_ becomes necessary in many French
+operas, owing to the prevalent custom of allotting to contraltos
+certain roles written for soprano and known as "dugazon roles" (from
+Madame Dugazon, who created the type). The parts of Siebel in _Faust_
+(Gounod), Urbain in _Les Huguenots_, Stephane in _Romeo et Juliette_
+(Gounod), are all written for soprano, and when sung in Italian
+require not only transposition of the principal airs, but the use of
+_pointage_ in passages where transposition is impossible owing, for
+instance, to the participation of other characters in the scene. Thus
+the air sung by the page Urbain (_Les Huguenots_) on his entrance is
+sung in the French theatres as written by Meyerbeer, _i.e._, in _B_
+flat. In theatres where the Italian version is given, this air is
+transposed a third lower into _G_, necessitating later numerous
+_pointages_, for the reason already given.
+
+I said that many deviations from the printed text are the work of the
+author, or are authorized by him. A moment's reflection will convince
+one of the truth of this statement. The singer chosen--usually by the
+composer himself--to "create" a role, _i.e._, to interpret for the
+first time some part in a new opera, generally studies it with the
+composer, or under his direct supervision, and thus learns, directly
+or indirectly, his ideas as to the meaning, style of execution, tempi,
+etc., of the music. Very often during rehearsals, when the composer
+begins really to hear his own work, he makes modifications in certain
+passages, alterations of the words or suppressions of the notes that
+are either ineffective, or lie awkwardly for the voice. But the opera
+has already been printed for the convenience of the singers and
+choristers studying the roles and choruses; consequently, such
+modifications, rearrangements, and "cuts" (as excisions are termed),
+do not find their way into the published scores.
+
+Meyerbeer, as I have been informed by competent authorities, was
+constantly modifying his compositions. With him, the work of revision
+and emendation was never finished. It is said that this was more
+especially the case with his last opera, _l'Africaine_, which he was
+continually altering and revising, never being able to satisfy
+himself. Two versions of the libretto were prepared for him by Scribe,
+and two distinct settings of the music are published, although only
+one is performed.[5]
+
+[Footnote 5: Cases are numerous of changes made by composers even
+after their work has been produced. The Fountain Scene in _Lucia_ was
+entirely remodelled by Donizetti, some time after its original
+production at Milan, the first setting being replaced by the "Regnava
+nel silenzio" now used, written for Persiani when the opera was first
+given at the San Carlo, Naples.]
+
+In Nelusko's first air occurs the following passage, in which a great
+_crescendo_ is marked, culminating _ff_ on the word _rien_:
+
+[Music: non, n'otent rien a ta majeste!]
+
+Although the opera was produced after the composer's death,
+Jean-Baptiste Faure, the great baritone chosen to create the role of
+Nelusko, studied it with Meyerbeer, who authorized several verbal and
+musical changes in it.
+
+[Music: non, n'otent rien, non, non, non, n'otent rien a ta majeste!]
+
+Without the first alteration it is impossible to realize the
+composer's wish for a climax on the word "_rien_"; the second change
+is due to the fact that the _tessitura_ of the phrase is somewhat
+high, and Faure, who was a low rather than high baritone, dreaded the
+high _f_-[sharp].
+
+Indeed, it was for this latter reason that this most accomplished
+singer never sang in Verdi's operas. According to his own statement,
+he had to deny himself this pleasure, because most of the baritone
+parts in the Italian composer's operas are written in a high
+_tessitura_.
+
+When Gounod wrote his _Faust_ for the Theatre-Lyrique, Paris, spoken
+dialogue was used in place of the recitatives subsequently added by
+the composer when the work passed, ten years later, into the
+repertoire of the Opera. In its earlier form, therefore, it belonged
+to the category of _opera-comique_, in which tenors were then
+permitted to use the falsetto voice for their very highest tones. This
+custom, though sanctioned in _opera-comique_, was not permitted or
+accepted in _grand opera_, to which Gounod's work in the revised form
+now belongs. At the beginning of the sixth bar from the end of the
+tenor _cavatina_ in the Garden Scene: "_Salut! demeure chaste et
+pure_," occurs the high sustained _c_.
+
+Not all tenors who sing the role are possessed of the much-coveted
+"_do di petto_," so a discreet _pointage_ becomes a necessity, since
+the tone was originally intended, as I have said, to be sung in
+falsetto. Those robust tenors who, possessing this tone, launch it out
+at full voice, unheeding the delicate accompaniment with violin
+obbligato in the orchestra, and the calm, mystic serenity of the
+surroundings, are surely more desirous of drawing the attention of the
+public to themselves, than actuated by an artistic desire to interpret
+faithfully the scene as intended by composer and librettist.
+
+It was owing to the use by light tenors of the so-called falsetto
+voice, now no longer in favor with the public, that such of the
+_operas-comiques_ by Boieldieu, Halevy, Auber, etc., which still keep
+the stage, necessitate frequent _pointage_, in order to render their
+execution compatible with existing requirements. Sometimes a composer
+utilizes an exceptional voice, as was the case with the roles written
+for Martin. This singer must have possessed either a strong tenor
+voice with exceptional low tones, or a baritone voice with perhaps an
+unusual command of the falsetto--history furnishes but vague
+information on this point. In any case, the roles written for
+him--called Martin-tenor or Martin-baritone parts--are now assigned to
+the ordinary baritone. _Pointage_ then becomes inevitable, as in the
+case of Herold's _Zampa_, the compass required as printed being from
+
+[Music]
+
+In the roles, such as _Mignon_ (Thomas) and _Carmen_ (Bizet), written
+for Madame Galli-Marie, their respective composers themselves have so
+arranged the parts that they may be sung by either mezzo-soprano or
+soprano. The role of Mignon has alternatives, in order that it may be
+sung by three types of female voices. The roulades and cadenzas were
+subsequently added by the composer for Madame Christine Nilsson.
+
+If the role is sung by a high soprano, Mignon's first air, "Connais-tu
+le pays," is transposed a tone higher into _E_ flat.
+
+In the famous duet between Raoul and Valentine in the fourth act of
+_Les Huguenots_, the composer has given alternative notes for those
+tenors who do not possess the exceptional altitude required for the
+higher of the two:
+
+[Music: Ah! viens! ah! viens! ah! viens!
+
+or
+
+viens! ah! viens!]
+
+I heard recently, however, a performance of this opera, in which the
+tenor sang the whole of the music as written, without either
+transposition or _pointage_. So it was sung, I should imagine, by the
+famous Adolphe Nourrit, who created the role; but the pitch at that
+time (1836) was lower than it is at present.
+
+Thus composers have recognized the necessity at times of _pointage_ in
+certain roles written for exceptionally gifted singers, in order to
+render possible to the many that which was originally written for the
+few.
+
+Changes from the published version have also been made--and proving
+effective have passed into tradition--by singers who, exercising the
+liberty then accorded them by composers, have slightly modified
+certain passages for several reasons: for instance, to augment the
+effect by making the phrase more characteristic of the vocal
+instrument, or to express more forcibly the composer's idea.
+
+The following illustrations will render my meaning clearer. The
+changes originated in the causes I have mentioned, and are attributed
+to Madame Dorus-Gras:
+
+[Music: "Robert, toi que j'aime"
+
+tu vois mon effroi! tu vois mon effroi!
+
+change
+
+-froi! Ah!
+
+Grace, grace pour moi-meme, pour toi-meme.]
+
+The phrase "Grace, grace," in which Isabelle implores Robert of
+Normandy's forgiveness, occurs three times. When it recurs for the
+last time, a change from the printed text is not only justifiable; it
+is demanded, in order to give additional intensity and power to the
+phrase, and to avoid the monotony caused by mere repetition. This
+modification is all the more defensible, as the composer has
+substituted the orchestra, with the strings _tremolo_, for the
+rhythmical harp-figure with which he accompanies the phrase on its
+first and second presentations. Here is the accepted traditional
+change:
+
+[Music: Grace, grace pour moi-meme, pour toi-meme.]
+
+Again, to sing the final cadenza of this air as Meyerbeer briefly
+indicated it, would be impossible and absurd:
+
+[Music: (as printed)
+
+ah! grace pour moi.
+
+(as sung)
+
+ah! grace, ah! grace pour moi.]
+
+Other changes have their origin in the fact that sometimes a great
+climax is rendered impossible of realization because the musical
+phrase culminates on a vowel-sound difficult of emission on that note,
+and devoid of sonority; another word has sometimes to be substituted.
+For this reason, in the first air of Alice in the same opera
+(_Robert_), "_Va, dit-elle_," a verbal rearrangement is always
+resorted to:
+
+[Music: Sa mere va prier pour lui, sa mere va prier pour lui, sa mere
+va prier pour lui, va prier]
+
+To avoid the disagreeable and ineffective result produced by the high
+descending passage on the word "lui" (pronounced in English as
+"lwee"), the last few bars are performed thus:
+
+[Music: sa mere va prier, sa mere va prier]
+
+When _La Tosca_ (Puccini) was produced in French at the Opera-Comique,
+Paris, the unfortunate artist to whom was allotted the tenor role was
+expected by the translator to sing at full voice, and after a crashing
+chord from the entire orchestra, marked _ffff_ in the score, the
+following words:
+
+[Music: au peril de ma vie]
+
+As it was found to be out of the question to produce the effect
+desired with the words as they stood, the phrase was afterwards
+changed to:
+
+[Music: pour combattre l'infame]
+
+Frequently modifications, most happy in their effect, are due to the
+inspiration of a particularly gifted artist.
+
+Madame Viardot-Garcia, finding the phrase of the cabaletta in the aria
+"_Se Romeo t'uccise_" (_Romeo e Giulietta_, Bellini) somewhat weak and
+ineffective, made the skilful _pointage_ here given:
+
+[Music: (as printed)
+
+Ma su voi ricada il sangue
+
+(as sung by Mme. Viardot-Garcia)
+
+Ma su voi ricada il sangue]
+
+A great artist may feel at times the inadequacy of the phrase as it
+stands to convey justly the composer's idea. Take, for instance, the
+well-known change which every soprano who sings the role of Leonora
+introduces in the _Miserere_ scene of _Il Trovatore_. The passage
+occurs four times in succession, and as printed becomes commonplace
+and monotonous.
+
+[Music: Di te, di te scordarmi! di te, di te scordarmi!]
+
+The accepted traditional change certainly conveys the impression of
+Leonora's gradually increasing anguish and terror; not the idea that
+it is introduced merely to exploit a high tone:
+
+[Music: Di te, di te scordarmi! di te, di te scordarmi!]
+
+That this departure from the text must have been sanctioned by Verdi,
+is, I think, proved by the fact that it has always been sung thus, and
+the composer himself must often have heard the substitution. He would
+certainly have forbidden its use, had he not approved of it, for he
+was particularly averse to having changes made in his music. The
+following anecdote illustrates this trait in his character. It was
+related by the late Mme. Marie Saxe, better known under her
+Italianized name of Marie Sasse. This distinguished soprano singer, a
+member of the Paris Opera for a number of years, was engaged to give a
+certain number of performances at the Opera of Cairo. _Aida_ was one
+of the operas stipulated for in her contract. She had never sung the
+role, and in studying it found the _tessitura_ of the music, at one or
+two points, a little too high for her natural means. As she was
+compelled by her contract to sing the opera, she asked Verdi to make
+some slight changes to bring the music within her reach. But he
+refused absolutely to make the least alteration.
+
+Madame Saxe was specially selected by Meyerbeer to create the role of
+Selika in _l'Africaine_. She studied the part for three months with
+the composer, and sang it when the work was first given at the Paris
+Opera. She was also chosen by Richard Wagner for the part of Elisabeth
+when _Tannhaeuser_ was given its stormy performances, with Niemann in
+the title-role, at the same theatre in 1861.
+
+Madame Saxe possessed a score of _Tannhaeuser_ with the inscription in
+the composer's handwriting:
+
+    "_A ma courageuse amie
+      Mademoiselle Marie Saxe._
+
+    _L'Auteur_
+      RICHARD WAGNER."
+
+The slight modifications, or _pointages_, asked from Verdi, were not,
+I was assured by Madame Saxe, of a character to alter either the role
+or the opera, and she remarked (I quote her own words): "Why should
+Verdi have shown himself more unreasonable or less yielding than
+Meyerbeer or Wagner?" (_plus intransigeant, plus intraitable que_
+Meyerbeer _ou_ Wagner?).
+
+       *       *       *       *       *
+
+In tradition, however, there is the true or accepted tradition--so
+called because believed to have been sanctioned by the composer
+himself, or approved of by competent authorities and its use warranted
+by time--and the false. This latter is simply an accumulation of
+excrescences superimposed on the original by individual whim or
+personal fancy. These have been invented by singers desirous of
+bringing into relief certain special and peculiar gifts, or who have
+mistaken, perhaps forgotten, the original and authentic tradition.
+Thus their artistic heritage has become so altered and disfigured by
+successive additions, or "machicotage," as to bear no resemblance to
+the original, this being buried under a heap of useless complications.
+
+But it may be asked, are there no authoritatively correct printed
+editions of such classics with the accepted traditions and the proper
+mode of their performance expressed in modern musical notation? Yes:
+but they are incomplete, being for the most part confined to airs and
+other excerpts, instead of the complete works themselves. In this
+connection, I may cite the admirable edition of the "_Gloires
+d'Italie_" by the late erudite musician and authority, Gevaert, for so
+many years Director of the Conservatoire at Brussels. These editions
+are characterized by a scrupulous fidelity to the composers' text as
+it was understood when written, as well as by great taste and musical
+sense of what is appropriate and fitting, in such ornaments as the
+editor has introduced, when these have been left to the discretion of
+the singer. The solo parts for the principal singers in Mozart's
+operas of _Don Giovanni_ and _Le Nozze di Figaro_, edited and revised
+for performance by the well-known singing-master and excellent
+musician, Signor Randegger, are also admirable. But other editions
+exist which do not bear the same imprint of authority, or
+conscientious care in their revision, as do the versions just
+mentioned.
+
+In the edition of the well-known air "_J'ai perdu mon Eurydice_" (_che
+faro senza Euridice?_) from _Orphee_ (Gluck), revised by Madame
+Pauline Viardot-Garcia, no mention is made of two traditions which
+have been used and handed down by a number of the most famous singers
+of the role of Orphee. I give them here:
+
+[Music: (as printed)
+
+dechire mon coeur. J'ai perdu mon Eurydice
+
+(Traditional changes)
+
+Ah! dechire mon coeur. J'ai perdu mon Eurydice]
+
+The change on the third repetition of the principal theme is quite in
+accordance with the license then accorded in such airs.
+
+In a special version of the opera _Armide_ (Gluck), revised and edited
+by the late Sir Charles Halle, the first bars of the great air of
+Armide in the first scene of the fourth act, "_Ah! si la liberte_"
+(Ah! if my liberty must from me then be taken), are printed thus:
+
+[Music: Ah! si la liberte]
+
+The situation is where Armide perceives the knight Renaud in the
+gardens of her enchanted palace, whither he has come to destroy the
+sorceress on account of her magic arts. Although the enchantress knows
+that the mission of the knight is to deprive her of liberty, she
+herself succumbs to the fatal passion of love. I have briefly
+described the scene in order that my meaning may be clear. In the
+second half of the first bar, the _acciaccatura_ was never intended by
+the composer to be actually sung as printed. It was his only way of
+indicating the sob or sigh whereby Armide finishes her exclamation,
+"Ah!" The effect is called "the Dramatic sob," and is known to every
+opera-singer. Here is the composer's meaning, as far as it is possible
+to convey it in writing:
+
+[Music: Ah! si la liberte]
+
+(A _portamento_ must be made from the first note to the next, when the
+breath must be taken quickly to give the idea of a sob or sigh.)
+
+Again, in a recent edition of the same air by the distinguished
+composer Vincent d'Indy (_Nouvelle Edition Francaise de Musique
+Classique_), occurs the following:
+
+[Music: tu regnes dans mon coeur!]
+
+The effect of the _F_ sharp in the last bar, if sung against the
+harmony given, in which the preceding chord is resolved, would be
+intolerable. Surely, the composer intended a pronounced _rallentando_
+on the latter half of the bar, and a carrying of the voice by a
+_portamento_ to the last note. Thus:
+
+[Music: tu regnes dans mon coeur!]
+
+In the edition of the immortal air in the opera of _Xerxes_,
+universally known as the "Largo of Handel," also revised and edited by
+d'Indy, may be noticed the following:
+
+[Music: Non v'oltraggino mai la cara pace, ne giunga a profanarvi
+austro rapace!]
+
+Of course, every operatic conductor knows that the chord in the
+orchestra must be played "after the voice," as the technical phrase
+has it. But not every pianist or organist is familiar with this usage,
+and the effect would be very disagreeable if given as written. It
+should be performed thus:
+
+[Music: Non v'oltraggino mai la cara pace, ne giunga a profanarvi
+austro rapace!]
+
+Besides, why claim that a certain edition is "revised and edited,"
+when all the care and musical knowledge seem to have been expended on
+the harmonies only? Surely, the voice-part in these classics is not
+without its need of elucidation.
+
+An edition of _The Messiah_, revised for performance, can scarcely be
+called accurate when such defects as the following occur:
+
+     "And [fermata symbol over "they"] they ---- [breath symbol] were
+     sore afraid."
+
+The following is the authentic mode of performing the phrase:
+
+     "And [fermata symbol over dash] ---- [breath symbol] [slur symbol
+     and "sombre" over the following words] they were sore afraid."
+
+In the same edition for the solo singers occurs: ("Behold and see"):
+
+[Music: If there be any sorrow like un_to_ His sorrow.]
+
+But by a slight syllabic rearrangement, the disagreeable accent on the
+last syllable of "un-_to_" is avoided, and the accent placed on the
+word "His," to which it belongs, while the composer's music remains
+untouched.
+
+[Music: like unto _His_ sorrow.]
+
+Again, in the same air occurs:
+
+[Music: (as printed)
+
+like un_to_ His sorrow.
+
+(should be sung)
+
+like unto _His_ sorrow.]
+
+While recognizing the benefits conferred by some of these specially
+prepared editions, there remains still more to be accomplished in this
+direction before the work is complete. A flood of light has been
+thrown on the dark and nebulous places of the instrumental classics by
+various distinguished and highly competent musicians. It is sincerely
+to be hoped, in the interests of this branch of the aesthetics of vocal
+art, that those competent to speak with authority will do so, in order
+that in this direction also "the crooked shall be made straight, and
+the rough places plain."
+
+I admit that this question of revising the composer's written text is
+an exceedingly delicate and difficult one. It should be attempted only
+by those possessed of the requisite authority, those who combine tact
+and taste with judgment and experience. To these qualities should be
+added a sincere and reverential desire to place in the highest relief
+the meaning of both poet and composer.
+
+       *       *       *       *       *
+
+I have said that the license formerly accorded by composers to
+singers--particularly operatic singers--manifested itself in a twofold
+form. The second of these phases was the introduction in the body of a
+theme or melody, and also at its close, of embellishments. Sometimes
+the composer briefly sketched these ornaments; at other times their
+places only were indicated. The ornaments in the body of an air are
+known as _abbellimenti_ or _fioriture_; those at its close, as
+_cadenze_.
+
+Here is an example of the former, taken from the duet in _Elisa e
+Claudio_ by Mercadante:
+
+[Music: Se un istante all'offerta d'un soglio vacillasse il mio genio
+primiero.]
+
+The following is the same passage ornamented:
+
+[Music: Se un istante all'offerta d'un soglio vacillasse il mio genio
+primiero]
+
+(As sung by Mme. Malibran. Quoted from "_Mecanisme des Traits_," by de
+La Madelaine, 1868.)
+
+The role of Rosina in Rossini's _Il Barbiere_ has long been a
+favourite peg with prime donne on which to hang interpolated ornaments
+for the display of their vocal agility. Some of these are not always
+in good taste, being trivial or banal in character, thus concealing
+the natural charm of the original melody under a species of Henri Herz
+variations. Others, however, such as those used by the Patti and the
+Sembrich, for instance, are of great originality and excellent effect.
+
+Here are some of the traditional ornaments and cadenzas sung by
+certain famous singers of the past in Rosina's entrance cavatina:
+"_Una voce poco fa_." This air was originally written by Rossini in
+_E_ major, the part of Rosina being intended for a mezzo-soprano, and
+was thus sung by the late Paulina Viardot-Garcia. This exceptionally
+gifted artist, possessing a voice of very great compass, was enabled
+to sing not only the roles assigned to mezzo-soprano contraltos, such
+as Orphee, or Fides (_Le Prophete_), which she created, but also the
+parts given to dramatic sopranos. Mme. Viardot was thus able, with
+some slight modifications, to sing Norma, Desdemona (_Otello_:
+Rossini), Rachel (_La Juive_), etc.
+
+The role of Rosina has now definitely passed into the possession of
+florid or _coloratura_ sopranos; much, therefore, of the music is of
+necessity transposed, the air in question being now sung one half-tone
+higher, in the key of _F_.
+
+Here is a change used by Mme. Cinti-Damoreau, who sang the music in
+the original key. The composer wrote:
+
+[Music: Si Lindoro mio sara.]
+
+Mme. Cinti-Damoreau sang thus:
+
+[Music: Si Lindoro mio sara.]
+
+In the same bar Mlle. Henrietta Sontag, who sang the air a semitone
+higher, introduced the following:
+
+[Music: Si Lindoro mio sara.]
+
+Rossini wrote no cadenza to the air:
+
+[Music: lo vincero!]
+
+Cadenza of Mlle. Sontag:
+
+[Music: Ah! ah! ah! lo vincero!]
+
+I have already spoken of the bad taste exhibited by some mediocre
+singers in covering a coloratura air with so many roulades, etc., as
+to render it barely recognizable. It was after hearing one of his own
+arias overloaded and disfigured in this manner that Rossini, who was
+noted for his biting wit and stinging sarcasms, is said to have
+remarked: "What charming music! Whom is it by?"
+
+Bellini, Donizetti, and composers of their school, sometimes did
+little more than hand over to the singer engaged to create their works
+a rough sketch, as it were, which the artists were supposed to fill in
+and perfect. Singers were expected to add such _fioriture_, or
+"flowers," as would best display their salient points of style and
+individual characteristics. The Cavatina, or slow movement of the
+aria, was the medium which called for the qualities of expressive
+singing, while the Cabaletta was a vehicle for the display of
+virtuosity and technical mastery. In this latter movement, the
+equivalent of the Rondo in instrumental music, the performer was left
+perfectly free to use such embellishments as set forth his own gifts
+to the greatest advantage. Some singers excelled in bold and rapid
+flights of scales, chromatic and diatonic; others, in the neat and
+clean-cut execution of involved _traits_ or figures. It must be
+remembered, that the great singers of the past were perfectly
+competent to add these ornaments themselves, as they possessed a
+complete and sound musical education.
+
+More: sometimes these singers even collaborated with the composers.
+Crescentini, the last famous male sopranist, is reputed by history or
+legend--the two are not infrequently synonymous--to have been himself
+the composer of the well-known aria "_Ombra adorata_," introduced by
+him in Zingarelli's opera _Romeo e Giulietta_, as also of the prayer
+sung by Romeo in the same work. His singing of it is said to have
+moved his audience to tears, and gained for him the decoration of the
+Iron Crown, conferred upon him by Napoleon I. The Emperor also
+induced him, by the offer of a large salary, to settle in Paris as
+professor of singing.
+
+When these great artists--their career as public singers being
+ended--began in turn to form pupils, they were admirably fitted for
+the task of imparting instruction, being excellent musicians, and, as
+I have said, composers of no insignificant merit. They had a sound
+theoretical knowledge, compared with which that of many of our modern
+singers seems but a pale and feeble reflection.
+
+The collaboration of composer and interpreter is not altogether
+unknown in the domain of instrumental music. Is it not historical that
+Mendelssohn profited largely from the wise counsels of the celebrated
+violinist Ferdinand David in the composition of his concerto for
+violin and orchestra? This does not mean that David contributed any
+musical phrases or ideas to the work; but that his practical knowledge
+of the special characteristics and capabilities of the solo instrument
+enabled him to suggest how the composer's thoughts might be most
+fittingly presented.
+
+Returning to the question of the introduction of ornaments, etc., into
+a composer's work, the following extract may be of interest to the
+musical student. It is from a volume of criticism, now out of print, a
+copy of which is possessed by the present writer. The article appeared
+in _La Patrie_ more than forty years ago, and was called forth by the
+ornaments written by the then well-known singer and teacher of great
+ability, Stephan de La Madelaine. These changes were for the great
+air of Agathe in the second act of _Der Freischuetz_, and were the
+cause of much discussion among the music-critics of the time.
+
+"Following the example of celebrated vocal virtuosi whom he had
+formerly known, and availing himself of the license then permitted,
+the master (de La Madelaine) has introduced several alterations
+(_changements_). These, however, in no sense clash with the original
+character of the air itself.
+
+"That the introduction of such ornaments has caused an outcry, is not
+surprising. We should remember, however, that the _Freischuetz_ was
+written at a period when, in certain places, the composer left the
+field entirely open to the singer, permitted him to make such changes
+as he might deem necessary. It must not be thought that in so doing
+the interpreter corrects the composer: he simply seeks to express, to
+the utmost of his abilities, the intention of the author.
+
+"The operas of Bellini, of Rossini, and, in general, of all the
+Italian masters, are full of these intentional gaps (_lacunes_) which
+were filled in by the singers. Nay, in the earliest days of the
+Neapolitan school, still greater liberty was allowed; the recitatives
+were all improvised by the executants, and were not even noted down.
+Each singer made his own, which the _maestro al cembalo_ accompanied
+with a few simple chords.
+
+"In the cavatina in _Norma_, each _cantatrice_ introduces her own
+changes on the recurrence of the principal theme, and the public
+applauds. Why then this outcry against the same procedure in _Der
+Freischuetz_?
+
+"_That this custom or practice might lead to great abuse and that it
+is necessary to uproot it gradually, is our opinion._ But this radical
+reform can be realized only in forthcoming works; those of the ancient
+school ought to be interpreted by following the conventions which the
+composer himself has respected.
+
+"That the _changements_ written by M. de La Madelaine for the air of
+the _Freischuetz_ are permissible, is proved by the fact that Weber
+himself has sanctioned and approved them, as, if need be, a great
+number of contemporaries can attest." (FRANCK-MARIE.)
+
+Whoever has had the good fortune to hear Mme. Marcella Sembrich in the
+role of Amina, in Bellini's _La Sonnambula_, will have heard an
+excellent example of remarkable technical skill or virtuosity, with
+irreproachable taste regulating its display. The ornaments and changes
+used by her in the _rondo finale_, "_Ah, non giunge_," are models of
+their genre. What else could be expected of an artist so gifted as to
+be able to perform the lesson-scene in Rossini's _Il Barbiere_
+(introducing therein the air with variations by Proch) in Italian; and
+in the course of the same scene sing, in German, "_Ich liebe dich_,"
+by Grieg, and play the Andante and Rondo Russe, for violin, by de
+Beriot, and a valse by Chopin on the piano?
+
+The opera, _La Sonnambula_, requires much rearrangement both of the
+music and of the verbal text, to which it is badly fitted. The greater
+part of the music written for Elvino has to be transposed, mostly a
+third lower, in order to make it practicable under existing
+conditions.
+
+No effect whatever could be made were a cantatrice to follow
+implicitly the written notes of this opera, such being merely a rough
+sketch, as it were, of the composer's ideas, which the singer is
+supposed to complete. Several instances from the andante "_Ah! non
+credea mirarti_," will suffice to prove this. The following is the
+printed version.
+
+[Music:
+
+Ah non credea mirarti,
+Si presto estinto, o fiore.]
+
+This is but a suggestion of the composer's idea. The artist will
+therefore not follow too closely the printed version; but following
+the evident indications for a pathetic and expressive _cantabile_ will
+perform it thus:
+
+[Music:
+
+Ah! non credea mirarti,
+Si presto estinto, o fiore.]
+
+Again a brief outline, as printed:
+
+[Music: Passasti al par d'amore, che un giorno, che un giorno sol
+duro.]
+
+which, if sung as follows, fills in the details:
+
+[Music: Passasti al par d'amore, che un giorno, che un giorno sol
+duro.]
+
+Also the passage in the same aria, where Amina sobs as she slowly lets
+fall to the ground the blossoms given her in the first act by Elvino,
+requires an entire rearrangement of the syllables to bring out the
+composer's meaning.
+
+[Music:
+
+Che un giorno sol duro,
+Passasti al par d'amor, d'amor.]
+
+Let any one go over this passage carefully, and he will be convinced
+that it is, as I have said, merely a sketch of the composer's idea. As
+it stands in the published version it is impossible of execution, and
+if it were possible, would be devoid of all effect: the syllables
+being wrongly placed, no opportunity for breathing is given the
+singer, and the final cadenza is marred by being allotted to the word
+"amore." Here is a revision of the latter, the cadenza being one I
+wrote for a pupil, Mme. Easton-Maclennan, of the Royal Opera, Berlin:
+
+[Music:
+
+Che un giorno sol duro,
+Passasti al par d'amor, ah! d'amor.]
+
+It will thus be seen, from the numerous foregoing examples, that these
+ornaments and interpolations are not added from a vulgar idea of
+correcting or improving the composer's music, but are strictly in
+accordance with certain conventions thoroughly understood by both
+composer and singer. To omit them, or follow too closely the printed
+text, would be to ignore the epoch, school and character of the music;
+a careful study of which forms one of the cornerstones of
+Interpretation. A skilled artist will always strive to analyze and
+interpret the intentions of the author. If one to whom is confided the
+vocal part of a composer's work were to limit himself to a
+mathematically correct reproduction of the written notes only, instead
+of searching below the surface for the author's meaning, his
+performance would merely resemble the accurate execution of a
+_solfeggio_ by a conscientious scholar. It would have the same
+relation to high artistic effort as the photographic reproduction of
+a landscape bears to the same scene as viewed and transmitted to
+canvas by a great painter.
+
+The sincere artist will carefully consider every detail. He will not
+be content to study his own part only, but will study the orchestral
+score which accompanies it. He will, in fact, follow the example set
+by good string-quartet players, who listen attentively to the other
+instruments during rehearsals, so that the perfect welding together of
+the different parts may form a homogeneous whole. Such an artist, in
+complete possession of the mechanical resources of his art, will
+utilize them all to embody perfectly that which, with the composer,
+existed only as a mental concept, inadequately transcribed, owing to
+the limitations of his media--pen, ink and paper.
+
+And it is only when in possession of the authentic traditions of
+Oratorio and Opera that the singer, such as I have supposed, will be
+able to vivify these great creations, will be able to invest them with
+warmth and colour, and thus make clear all their meaning, reveal all
+their beauty.
+
+
+
+
+CHAPTER V
+
+REPERTOIRE
+
+
+Although repertoire forms no integral part of Style, being rather the
+medium for its practical application, a few words on this important
+subject may not be out of place. The repertoire necessary for a singer
+may be divided into two sections, Opera and Concert. The latter
+includes Oratorio and Cantata.
+
+In spoken Drama, a performer may begin his career by playing the
+youthful lovers, and end it by impersonating the heavy fathers. He may
+first sigh as Romeo, and later storm as Capulet. Not so in Opera, or
+lyric Drama, where the line of work to be followed is determined at
+the outset by the type of voice possessed by the aspirant, and which
+line (or _emploi_, as it is termed) he follows of necessity to the end
+of his professional career.
+
+I know there are some few instances of artists who, later, have
+successfully adopted roles demanding another range than the one needed
+for their earlier efforts. But it is an open question whether the
+performer's instrument really changed. It must either have been
+wrongly classified at one of the two periods, or the vocal
+keyboard--so to speak--transposed a little higher or lower. The
+character of the instrument remains the same; a viola strung as a
+violin would still retain its viola quality of tone.
+
+The case is different where a soprano who may have begun by singing
+the florid roles of opera, has so gained in volume of voice and
+breadth of style as to warrant her devoting these acquisitions to
+characters requiring more dramatic force than was needed, or could be
+utilized, in coloratura roles. Mlle. Emma Calve, Mesdames Lilli
+Lehmann and Nordica, are notable examples of this. Each of these
+distinguished artists began her career by singing what are known as
+"Princess" roles, before successfully portraying Carmen or the
+Bruennhildes. As a rule, it is by singing many different roles that the
+lyric artist gains the skill and sureness that may ultimately render
+him famous in a few. Mlle. Grandjean, now principal first dramatic
+soprano at the Paris Opera, began her career there--after a few
+appearances at the Opera-Comique--by singing the very small part of
+the nurse Magdalene in Wagner's _Die Meistersinger_. Perseverance, if
+allied to ability, can accomplish much.
+
+When the type of voice and the natural temperament of the singer do
+not accord--as sometimes happens--he would be unwise not to adhere to
+the work for which his vocal means, not his preference, are best
+adapted. To follow the contrary path, and essay roles requiring for
+their fitting expression more dramatic fire and intensity than his
+vocal instrument can supply, would be to shorten his career, owing to
+the certain deterioration and possible extinction of the voice. There
+are sufficient voiceless examples to prove, were proof needed, the
+truth of this assertion; and their atonic condition is due to the
+cause mentioned.
+
+The first requisite for the aspirant who wishes to follow the operatic
+career is undoubtedly a voice possessed of the three essential factors
+of Quality, Power and Compass; what is termed in Italy a "_voce di
+teatro_," or voice for the theatre.
+
+But an opera-singer is actor as well as singer, and in this direction
+more--much more--is now demanded of him than formerly. But to those
+possessed of what is known as the Instinct of the Theatre, or Scenic
+Instinct, the gestures and attitudes of the operatic stage, being
+largely conventional, are soon acquired. Scenic accomplishments are
+undoubtedly necessary to the stage-singer, but his mimetic studies
+should not preclude him from making himself a thorough master of the
+vocal side of his art. There is a difference between an actor who
+sings, and a singer who acts.
+
+Besides the mimetic faculty, certain physical gifts are also needed by
+the opera-singer, according to the requirements of the line of roles
+to which he is inevitably assigned by the nature and type of his
+particular voice. It is true that stage artifice has now reached great
+perfection; but it has its limits, and cannot accomplish miracles.
+
+It requires much imagination and great generosity on the part of the
+public to accept a tenor, whose waist-girth would not unfit him for
+the part of Sir John Falstaff, as a youthful and romantic Romeo, or a
+half-starved and emaciated Rodolphe. Illusion is rudely shaken, if not
+absolutely dispelled, in witnessing a soprano, whose age and
+_embonpoint_ are fully in evidence, impersonate a girlish Gilda or a
+consumptive Traviata. Such discrepancies may be overlooked by the
+public in the case of old established favourites, but it would be
+unfortunate for the debutant to commence with these drawbacks. And yet
+there have been a few famous artists whose extraordinary vocal talent
+atoned for other very pronounced defects. Such an one was the
+Pisaroni, a celebrated contralto, said to have been so ill-favoured
+that she always forwarded her likeness to any opera director to whom
+she was personally unknown, who offered her an engagement. But so
+exceptional were her voice and talent, that certain of her
+contemporary artists have declared that by the time Pisaroni had
+reached the end of her first phrase, the public was already conquered.
+
+As personal preference is very often mistaken for aptitude or natural
+fitness, a lyric artist is not always the best judge as to which of
+the roles in his repertoire are really fitted to display his abilities
+to the best advantage. The singer combines in himself both instrument
+and performer; therefore he rarely, if ever, hears himself quite as
+does another person. Until possessed of the ripened judgment gained by
+experience, he would do well to be guided in this matter by one who,
+to the knowledge required, adds taste and discernment. That a liking
+or preference is sometimes mistaken for the aptitude and gifts
+necessary for the successful carrying out of certain work, is too well
+known to be even questioned. It is the constantly recurring case of
+the low comedian who wishes to play Hamlet. A young tenor whose great
+vocal and physical advantages made him an ideal Duke in _Rigoletto_, a
+fascinating Almaviva in _Il Barbiere_, found but little enjoyment in
+life because his director refused to allow him to try Otello and
+Tannhaeuser, for which he was vocally unfitted. Never show the public
+what you cannot do, is the best advice that can be given in such
+cases. Even the finest and most experienced singers are occasionally
+liable to make mistakes in the choice of roles. Madame Patti once sang
+Carmen, and Madame Melba essayed Bruennhilde; but I am not aware that
+either of these famous cantatrices repeated the experiment.
+
+       *       *       *       *       *
+
+For those who intend to follow a concert-singer's career, there is a
+vast literature of vocal music specially written for this purpose,
+from which to select. There are few modern operatic excerpts which do
+not suffer somewhat by being transplanted from the stage to the
+concert-platform. In no case is this more clearly proved than in the
+selections so frequently given from Wagner's music-dramas. Of course,
+I am speaking more particularly of those extracts which require the
+services of a vocalist. Such selections given in the concert-room are
+in distinct violation of the composer's own wishes, frequently
+expressed. Besides lacking the necessary adjuncts of gesture, costume
+and scenery, the musical conditions of the concert-room are very
+unfavourable to the unfortunate singer. He has to struggle to make
+himself heard above the sonorities of a powerful orchestra generally
+numbering over a hundred musicians, and placed directly around and
+behind him, instead of on a lower level, as in the case of a lyric
+theatre. Besides which, Wagner's works can now be heard in all large
+cities under the conditions necessary for their proper presentment,
+and as intended by their author-composer. Therefore, there is no
+longer the same reason as may have existed years ago, for the
+performance of extracts at purely symphonic concerts.
+
+In cases where the singer has to select numbers for a symphonic
+concert and to be accompanied by an orchestra, there is a mine of
+wealth, not yet exhausted, in the operas of the older classic
+composers. These, being less heavily orchestrated than the ultra
+modern works written for the theatre, do not suffer in the same degree
+from the different disposition of the orchestral instruments.
+
+There are also a few vocal numbers with orchestral accompaniments
+written in the form of a "scena," such as the "Ah, perfido" of
+Beethoven, and the "Infelice" of Mendelssohn, which might possibly
+form an agreeable change to the frequenters of symphonic concerts,
+jaded a little, perhaps, with the oft-repeated "Dich theure Halle" and
+"Prayer" from _Tannhaeuser_.
+
+In order to render them more in keeping with the conditions of
+symphonic concerts, orchestral accompaniments, to many songs by the
+classic composers, have been made by excellent musicians from the
+original piano-part. The ethical question involved in the presentation
+of such works in a form other than that written by the composer, need
+not be considered here. Each artist must decide the matter for
+himself.
+
+So far as songs with accompaniments for the piano are concerned, there
+is a mine practically inexhaustible and from which new treasures are
+constantly brought to light. For Recital purposes, the choice and
+sequence of a programme is second in importance only to its execution.
+And although suppleness and adaptability are valuable, even necessary,
+qualities, in a concert-singer, he will sometimes find that certain
+songs--admirable in themselves--are unsuited to him, for reasons which
+it is not always possible to define. In such cases it is not a matter
+of compass, or _tessitura_, of voice, or even temperament; there is
+some hidden lack of sympathy between the composer and his interpreter.
+A song should seem like a well-fitting garment; not only admirably
+made, but specially designed for the person who wears it.
+
+
+
+
+CHAPTER VI
+
+CONCLUSION
+
+
+The art of Singing is at present in a period of transition; and all
+unsettled conditions are unsatisfactory. Former standards are being
+thrown down; and the new ones are not yet elected, or, if chosen, not
+yet firmly fixed in the places of the old.
+
+All Arts have a period in their history when they seem to reach their
+culminating point of technical perfection. Perhaps this point is
+reached when the art is practised for its own sake, without giving
+much consideration or attributing special importance to what it
+expresses. Sculpture reached its apogee under the Greeks, who, more
+than any other race, prized Form--particularly as manifested in its
+highest expression, the human figure. Painting also was at its climax
+of technical development during the Renaissance, when life was full of
+movement, and costume picturesque. But at this period in each of the
+two arts, skill was regarded as of more importance than the subject.
+In other words, the perfection of the sculptor's statue or the scene
+depicted by the painter was of more interest and importance than the
+object or scene itself. If the work were admirably executed, the story
+it told had relatively little importance.
+
+Singing, which is speech conveyed through music, similarly reached its
+highest point of technical excellence when the voice of the singer
+was considered as little more than a mechanical instrument; when
+beauty of tone-quality and perfect virtuosity were the only ends for
+which to strive. This period was at its height with Farinelli,
+Caffarelli, Gizziello, and ended perhaps with Crescentini. That these
+singers possessed extraordinary technical skill, or execution, is
+amply attested by the exercises and airs, still extant, written for
+them by Porpora, Hasse, Veracini, and others. That they also had
+musical sentiment or expression, is authoritatively proved from the
+emotion caused in their auditors by their performance of a slow
+movement or _cantabile_. But it was musical expression only, and as if
+performed on a solo instrument, as a flute or violin, which does not
+possess the faculty of uttering words. The operas in which these
+singers appeared had some plot or story, it is true; but its
+importance was of the slightest--analogous to, and of the same value
+as, the subject in painting and sculpture at corresponding periods of
+their history.
+
+But singing, like these two sister-arts, has passed the period when it
+was, or could be, appreciated purely for the perfection of its
+technique. It has developed and broadened in other directions, and
+more now is demanded of the singer than mere mechanical perfection.
+Composers--notably Gluck--began to perceive the great possibilities to
+be attained by the development of the Greek lyric ideal; that is, the
+presentation of the Poetic idea by, and through the medium of, music;
+instead of being, as formerly, merely its excuse, a framework for the
+musician upon which to hang melodies.
+
+Although Gluck, like all innovators, was considered by his
+contemporaries as a revolutionary and iconoclast, he only strove to
+develop and perfect an art that had already existed in a primitive
+form. This was the art of animating a poetic idea by means of
+melopoeia; which Wagner later developed still further.
+
+       *       *       *       *       *
+
+Gradually, two essentials of good singing--tone-quality and truth of
+intonation--began to be neglected. But why should either of these two
+factors be less essential to a singer than to an instrumentalist?
+
+Of late it has been tacitly assumed, if not boldly claimed, that
+sentiment, passion, temperament, atoned for--even if they did not
+entirely replace--voice and lack of skill in the artist. But what
+constitutes an artist? Art has been defined by an English
+lexicographer as "Doing something, the power for which is acquired by
+experience, study or observation;" and an artist, as "One skilled in
+the practice of any art." The French writer d'Alembert says, "_L'art
+s'acquiert par l'etude et l'exercice_" (Art is acquired by study and
+practice). If these definitions of art be accepted, its external
+expression or manifestation is essential through some vehicle or
+medium, otherwise there is neither art nor artist. Concepts or ideals
+have their genesis in mind, but were they to remain there, the poet,
+painter, sculptor or musician (composer or interpreter) would have no
+right to the title of artist, because his concepts remained in
+thought-form only, and unexpressed. Therefore, as a composer can be
+accepted as artist only when he has given that to the world which
+entitles him to the distinction, how can his so-called interpreter be
+considered an artist when, through insufficiency of technical ability,
+he is unable to present satisfactorily the author's concept? No matter
+in what abundant measure such a performer may possess the good
+qualities of earnestness, conviction and sincerity, he is not an
+artist. "_Poeta nascitur, non fit_," has long been accepted as a
+truism; and similarly, it is supposed that the artist also is born,
+not made. But seeing that the mechanical side of any art is learned by
+experience, study, or observation--still to quote the definition--without
+which an adequate manifestation of that art is impossible, then
+certainly the artist is made. He is born with certain qualities
+necessary for the artist, it is true; but failing his technical skill,
+these other gifts can never be fully utilized.
+
+It is to be deplored that the studies of many vocal aspirants are not
+conducted on the same plan that is followed by those who desire to
+attain perfection on a musical instrument. These acquire a technique,
+and learn or study many works which may broaden or perfect their
+style, before commencing to prepare a repertoire. The opposite course
+is followed by many students of singing, who study roles, instead of
+learning first how to sing. The full meaning of the highest examples
+of the modern lyric drama can be made apparent only by those who have
+fully mastered the vocal, as well as the mimetic, side of lyric art.
+Too much importance is, in my opinion, attached to the latter branch,
+at the cost of the former. I repeat, an opera-singer should be a
+singer who acts, not an actor who sings.
+
+       *       *       *       *       *
+
+On the occasion of the bestowal of awards at the Paris Conservatoire
+in August, 1905, M. Dujardin-Beaumetz, Under-Secretary for the Fine
+Arts, in his address to the students made pointed allusion to the
+difference of results between the instrumental classes and those for
+singing. Said the orator: "It is claimed that singing is in a state of
+decadence, and that the cause is largely due to the style of modern
+music. It is rather owing to the fact that this art is not studied at
+present with the same methodic diligence that formerly obtained. I
+would remind the students of singing that they gain nothing by
+neglecting the earlier studies, and that their professional future
+would be better assured if it rested on a solid basis of vocal
+technique. It is, therefore, in their interest that, with a view to
+assure this important point, certain reforms will be instituted."[6]
+
+[Footnote 6: One of these reforms was that the first year's study is
+to be devoted entirely to tone-formation; no attention being paid to
+the employment of the tones in melody. Nor are the professors of
+singing at the Conservatoire now selected--as was formerly the
+case--exclusively from among ex-opera-singers.]
+
+The professors of the classes for singing were also advised to draw
+more on the great classic writers for the voice, instead of confining
+themselves principally to the operatic repertoire.
+
+Every art reaches its apex of perfection, and then seems to decline;
+it may even temporarily disappear. But, being immortal, it is never
+lost. It finds other modes of manifestation, and reappears in other
+forms. The principles on which it is founded do not change; but
+constantly changing conditions necessitate a new application of these
+principles. This necessity was acknowledged for poetry itself by Andre
+Chenier:
+
+"_Sur des pensees nouveaux, faisons des vers antiques._" (Let us
+embody modern thoughts in classic verse.)
+
+Music follows the great laws of development to which all things are
+subject. It would be foolish, nay, impossible, to try to resuscitate
+an old form of art. Foolish, because the art itself would have lost
+all except its archaic charm or interest; impossible, because
+conditions have so completely changed that the attempt would be merely
+the galvanizing of a corpse, not its reanimation.
+
+Similarly, the art of singing can be successful only in proportion as
+it recognizes the existence of other conditions. These it meets by
+observing the old principles, but changing their mode of application.
+
+The education of the singer of to-day requires to be conducted on
+broader and more comprehensive lines than in the past, on account of
+the different conditions which have presented themselves.
+Singing--that is, the alliance and utterance of Music and Poetry--is
+one of the highest manifestations of the Beautiful, and is man's
+supreme and greatest creation. Therefore, singing will not seek in
+future to rival a mechanical instrument. It will, it is evident, give
+to the poetic idea a prominent, though not a predominant, place. But
+this poetic idea can be revealed to the listener only by a singer who
+is master of all the technical phases of his art. These component
+parts of his vocal education must of necessity comprise--as was laid
+down in the opening chapter of this work--Pose of Voice, Technique,
+Style, and Repertoire.
+
+It has been demonstrated that the first of these elements is
+essential, because the other stones of the complete structure cannot
+be successfully laid on an insecure foundation. The singer must have
+the second, or he will be unable to materialize his concept, like an
+unskilled carver who possesses the necessary material and tools, but
+lacks the technical ability to utilize either. He must possess Colour,
+whereby his vocal palette is set with the varied tints necessary for
+the different sentiments to be expressed; Accent, so that character
+may be given to the music and appropriate emphasis to the text; and
+Phrasing, in order that he may punctuate the music effectively and the
+words intelligently.
+
+Perfect master of these, he is in possession of all that goes to make
+up Style. And, if these premises be accepted, it must be evident that
+he is in possession of the qualities that were necessary to make
+singers great in the past, and are indispensable to make them great in
+the future.
+
+
+
+
+
+
+
+
+End of the Project Gutenberg EBook of Style in Singing, by W. E. Haslam
+
+*** END OF THIS PROJECT GUTENBERG EBOOK STYLE IN SINGING ***
+
+***** This file should be named 21400.txt or 21400.zip *****
+This and all associated files of various formats will be found in:
+        http://www.gutenberg.org/2/1/4/0/21400/
+
+Produced by David Newman, Chuck Greif, Linda Cantoni, and
+the Online Distributed Proofreading Team at
+http://www.pgdp.net
+
+
+Updated editions will replace the previous one--the old editions
+will be renamed.
+
+Creating the works from public domain print editions means that no
+one owns a United States copyright in these works, so the Foundation
+(and you!) can copy and distribute it in the United States without
+permission and without paying copyright royalties.  Special rules,
+set forth in the General Terms of Use part of this license, apply to
+copying and distributing Project Gutenberg-tm electronic works to
+protect the PROJECT GUTENBERG-tm concept and trademark.  Project
+Gutenberg is a registered trademark, and may not be used if you
+charge for the eBooks, unless you receive specific permission.  If you
+do not charge anything for copies of this eBook, complying with the
+rules is very easy.  You may use this eBook for nearly any purpose
+such as creation of derivative works, reports, performances and
+research.  They may be modified and printed and given away--you may do
+practically ANYTHING with public domain eBooks.  Redistribution is
+subject to the trademark license, especially commercial
+redistribution.
+
+
+
+*** START: FULL LICENSE ***
+
+THE FULL PROJECT GUTENBERG LICENSE
+PLEASE READ THIS BEFORE YOU DISTRIBUTE OR USE THIS WORK
+
+To protect the Project Gutenberg-tm mission of promoting the free
+distribution of electronic works, by using or distributing this work
+(or any other work associated in any way with the phrase "Project
+Gutenberg"), you agree to comply with all the terms of the Full Project
+Gutenberg-tm License (available with this file or online at
+http://gutenberg.org/license).
+
+
+Section 1.  General Terms of Use and Redistributing Project Gutenberg-tm
+electronic works
+
+1.A.  By reading or using any part of this Project Gutenberg-tm
+electronic work, you indicate that you have read, understand, agree to
+and accept all the terms of this license and intellectual property
+(trademark/copyright) agreement.  If you do not agree to abide by all
+the terms of this agreement, you must cease using and return or destroy
+all copies of Project Gutenberg-tm electronic works in your possession.
+If you paid a fee for obtaining a copy of or access to a Project
+Gutenberg-tm electronic work and you do not agree to be bound by the
+terms of this agreement, you may obtain a refund from the person or
+entity to whom you paid the fee as set forth in paragraph 1.E.8.
+
+1.B.  "Project Gutenberg" is a registered trademark.  It may only be
+used on or associated in any way with an electronic work by people who
+agree to be bound by the terms of this agreement.  There are a few
+things that you can do with most Project Gutenberg-tm electronic works
+even without complying with the full terms of this agreement.  See
+paragraph 1.C below.  There are a lot of things you can do with Project
+Gutenberg-tm electronic works if you follow the terms of this agreement
+and help preserve free future access to Project Gutenberg-tm electronic
+works.  See paragraph 1.E below.
+
+1.C.  The Project Gutenberg Literary Archive Foundation ("the Foundation"
+or PGLAF), owns a compilation copyright in the collection of Project
+Gutenberg-tm electronic works.  Nearly all the individual works in the
+collection are in the public domain in the United States.  If an
+individual work is in the public domain in the United States and you are
+located in the United States, we do not claim a right to prevent you from
+copying, distributing, performing, displaying or creating derivative
+works based on the work as long as all references to Project Gutenberg
+are removed.  Of course, we hope that you will support the Project
+Gutenberg-tm mission of promoting free access to electronic works by
+freely sharing Project Gutenberg-tm works in compliance with the terms of
+this agreement for keeping the Project Gutenberg-tm name associated with
+the work.  You can easily comply with the terms of this agreement by
+keeping this work in the same format with its attached full Project
+Gutenberg-tm License when you share it without charge with others.
+
+1.D.  The copyright laws of the place where you are located also govern
+what you can do with this work.  Copyright laws in most countries are in
+a constant state of change.  If you are outside the United States, check
+the laws of your country in addition to the terms of this agreement
+before downloading, copying, displaying, performing, distributing or
+creating derivative works based on this work or any other Project
+Gutenberg-tm work.  The Foundation makes no representations concerning
+the copyright status of any work in any country outside the United
+States.
+
+1.E.  Unless you have removed all references to Project Gutenberg:
+
+1.E.1.  The following sentence, with active links to, or other immediate
+access to, the full Project Gutenberg-tm License must appear prominently
+whenever any copy of a Project Gutenberg-tm work (any work on which the
+phrase "Project Gutenberg" appears, or with which the phrase "Project
+Gutenberg" is associated) is accessed, displayed, performed, viewed,
+copied or distributed:
+
+This eBook is for the use of anyone anywhere at no cost and with
+almost no restrictions whatsoever.  You may copy it, give it away or
+re-use it under the terms of the Project Gutenberg License included
+with this eBook or online at www.gutenberg.org
+
+1.E.2.  If an individual Project Gutenberg-tm electronic work is derived
+from the public domain (does not contain a notice indicating that it is
+posted with permission of the copyright holder), the work can be copied
+and distributed to anyone in the United States without paying any fees
+or charges.  If you are redistributing or providing access to a work
+with the phrase "Project Gutenberg" associated with or appearing on the
+work, you must comply either with the requirements of paragraphs 1.E.1
+through 1.E.7 or obtain permission for the use of the work and the
+Project Gutenberg-tm trademark as set forth in paragraphs 1.E.8 or
+1.E.9.
+
+1.E.3.  If an individual Project Gutenberg-tm electronic work is posted
+with the permission of the copyright holder, your use and distribution
+must comply with both paragraphs 1.E.1 through 1.E.7 and any additional
+terms imposed by the copyright holder.  Additional terms will be linked
+to the Project Gutenberg-tm License for all works posted with the
+permission of the copyright holder found at the beginning of this work.
+
+1.E.4.  Do not unlink or detach or remove the full Project Gutenberg-tm
+License terms from this work, or any files containing a part of this
+work or any other work associated with Project Gutenberg-tm.
+
+1.E.5.  Do not copy, display, perform, distribute or redistribute this
+electronic work, or any part of this electronic work, without
+prominently displaying the sentence set forth in paragraph 1.E.1 with
+active links or immediate access to the full terms of the Project
+Gutenberg-tm License.
+
+1.E.6.  You may convert to and distribute this work in any binary,
+compressed, marked up, nonproprietary or proprietary form, including any
+word processing or hypertext form.  However, if you provide access to or
+distribute copies of a Project Gutenberg-tm work in a format other than
+"Plain Vanilla ASCII" or other format used in the official version
+posted on the official Project Gutenberg-tm web site (www.gutenberg.org),
+you must, at no additional cost, fee or expense to the user, provide a
+copy, a means of exporting a copy, or a means of obtaining a copy upon
+request, of the work in its original "Plain Vanilla ASCII" or other
+form.  Any alternate format must include the full Project Gutenberg-tm
+License as specified in paragraph 1.E.1.
+
+1.E.7.  Do not charge a fee for access to, viewing, displaying,
+performing, copying or distributing any Project Gutenberg-tm works
+unless you comply with paragraph 1.E.8 or 1.E.9.
+
+1.E.8.  You may charge a reasonable fee for copies of or providing
+access to or distributing Project Gutenberg-tm electronic works provided
+that
+
+- You pay a royalty fee of 20% of the gross profits you derive from
+     the use of Project Gutenberg-tm works calculated using the method
+     you already use to calculate your applicable taxes.  The fee is
+     owed to the owner of the Project Gutenberg-tm trademark, but he
+     has agreed to donate royalties under this paragraph to the
+     Project Gutenberg Literary Archive Foundation.  Royalty payments
+     must be paid within 60 days following each date on which you
+     prepare (or are legally required to prepare) your periodic tax
+     returns.  Royalty payments should be clearly marked as such and
+     sent to the Project Gutenberg Literary Archive Foundation at the
+     address specified in Section 4, "Information about donations to
+     the Project Gutenberg Literary Archive Foundation."
+
+- You provide a full refund of any money paid by a user who notifies
+     you in writing (or by e-mail) within 30 days of receipt that s/he
+     does not agree to the terms of the full Project Gutenberg-tm
+     License.  You must require such a user to return or
+     destroy all copies of the works possessed in a physical medium
+     and discontinue all use of and all access to other copies of
+     Project Gutenberg-tm works.
+
+- You provide, in accordance with paragraph 1.F.3, a full refund of any
+     money paid for a work or a replacement copy, if a defect in the
+     electronic work is discovered and reported to you within 90 days
+     of receipt of the work.
+
+- You comply with all other terms of this agreement for free
+     distribution of Project Gutenberg-tm works.
+
+1.E.9.  If you wish to charge a fee or distribute a Project Gutenberg-tm
+electronic work or group of works on different terms than are set
+forth in this agreement, you must obtain permission in writing from
+both the Project Gutenberg Literary Archive Foundation and Michael
+Hart, the owner of the Project Gutenberg-tm trademark.  Contact the
+Foundation as set forth in Section 3 below.
+
+1.F.
+
+1.F.1.  Project Gutenberg volunteers and employees expend considerable
+effort to identify, do copyright research on, transcribe and proofread
+public domain works in creating the Project Gutenberg-tm
+collection.  Despite these efforts, Project Gutenberg-tm electronic
+works, and the medium on which they may be stored, may contain
+"Defects," such as, but not limited to, incomplete, inaccurate or
+corrupt data, transcription errors, a copyright or other intellectual
+property infringement, a defective or damaged disk or other medium, a
+computer virus, or computer codes that damage or cannot be read by
+your equipment.
+
+1.F.2.  LIMITED WARRANTY, DISCLAIMER OF DAMAGES - Except for the "Right
+of Replacement or Refund" described in paragraph 1.F.3, the Project
+Gutenberg Literary Archive Foundation, the owner of the Project
+Gutenberg-tm trademark, and any other party distributing a Project
+Gutenberg-tm electronic work under this agreement, disclaim all
+liability to you for damages, costs and expenses, including legal
+fees.  YOU AGREE THAT YOU HAVE NO REMEDIES FOR NEGLIGENCE, STRICT
+LIABILITY, BREACH OF WARRANTY OR BREACH OF CONTRACT EXCEPT THOSE
+PROVIDED IN PARAGRAPH F3.  YOU AGREE THAT THE FOUNDATION, THE
+TRADEMARK OWNER, AND ANY DISTRIBUTOR UNDER THIS AGREEMENT WILL NOT BE
+LIABLE TO YOU FOR ACTUAL, DIRECT, INDIRECT, CONSEQUENTIAL, PUNITIVE OR
+INCIDENTAL DAMAGES EVEN IF YOU GIVE NOTICE OF THE POSSIBILITY OF SUCH
+DAMAGE.
+
+1.F.3.  LIMITED RIGHT OF REPLACEMENT OR REFUND - If you discover a
+defect in this electronic work within 90 days of receiving it, you can
+receive a refund of the money (if any) you paid for it by sending a
+written explanation to the person you received the work from.  If you
+received the work on a physical medium, you must return the medium with
+your written explanation.  The person or entity that provided you with
+the defective work may elect to provide a replacement copy in lieu of a
+refund.  If you received the work electronically, the person or entity
+providing it to you may choose to give you a second opportunity to
+receive the work electronically in lieu of a refund.  If the second copy
+is also defective, you may demand a refund in writing without further
+opportunities to fix the problem.
+
+1.F.4.  Except for the limited right of replacement or refund set forth
+in paragraph 1.F.3, this work is provided to you 'AS-IS' WITH NO OTHER
+WARRANTIES OF ANY KIND, EXPRESS OR IMPLIED, INCLUDING BUT NOT LIMITED TO
+WARRANTIES OF MERCHANTIBILITY OR FITNESS FOR ANY PURPOSE.
+
+1.F.5.  Some states do not allow disclaimers of certain implied
+warranties or the exclusion or limitation of certain types of damages.
+If any disclaimer or limitation set forth in this agreement violates the
+law of the state applicable to this agreement, the agreement shall be
+interpreted to make the maximum disclaimer or limitation permitted by
+the applicable state law.  The invalidity or unenforceability of any
+provision of this agreement shall not void the remaining provisions.
+
+1.F.6.  INDEMNITY - You agree to indemnify and hold the Foundation, the
+trademark owner, any agent or employee of the Foundation, anyone
+providing copies of Project Gutenberg-tm electronic works in accordance
+with this agreement, and any volunteers associated with the production,
+promotion and distribution of Project Gutenberg-tm electronic works,
+harmless from all liability, costs and expenses, including legal fees,
+that arise directly or indirectly from any of the following which you do
+or cause to occur: (a) distribution of this or any Project Gutenberg-tm
+work, (b) alteration, modification, or additions or deletions to any
+Project Gutenberg-tm work, and (c) any Defect you cause.
+
+
+Section  2.  Information about the Mission of Project Gutenberg-tm
+
+Project Gutenberg-tm is synonymous with the free distribution of
+electronic works in formats readable by the widest variety of computers
+including obsolete, old, middle-aged and new computers.  It exists
+because of the efforts of hundreds of volunteers and donations from
+people in all walks of life.
+
+Volunteers and financial support to provide volunteers with the
+assistance they need, is critical to reaching Project Gutenberg-tm's
+goals and ensuring that the Project Gutenberg-tm collection will
+remain freely available for generations to come.  In 2001, the Project
+Gutenberg Literary Archive Foundation was created to provide a secure
+and permanent future for Project Gutenberg-tm and future generations.
+To learn more about the Project Gutenberg Literary Archive Foundation
+and how your efforts and donations can help, see Sections 3 and 4
+and the Foundation web page at http://www.pglaf.org.
+
+
+Section 3.  Information about the Project Gutenberg Literary Archive
+Foundation
+
+The Project Gutenberg Literary Archive Foundation is a non profit
+501(c)(3) educational corporation organized under the laws of the
+state of Mississippi and granted tax exempt status by the Internal
+Revenue Service.  The Foundation's EIN or federal tax identification
+number is 64-6221541.  Its 501(c)(3) letter is posted at
+http://pglaf.org/fundraising.  Contributions to the Project Gutenberg
+Literary Archive Foundation are tax deductible to the full extent
+permitted by U.S. federal laws and your state's laws.
+
+The Foundation's principal office is located at 4557 Melan Dr. S.
+Fairbanks, AK, 99712., but its volunteers and employees are scattered
+throughout numerous locations.  Its business office is located at
+809 North 1500 West, Salt Lake City, UT 84116, (801) 596-1887, email
+business@pglaf.org.  Email contact links and up to date contact
+information can be found at the Foundation's web site and official
+page at http://pglaf.org
+
+For additional contact information:
+     Dr. Gregory B. Newby
+     Chief Executive and Director
+     gbnewby@pglaf.org
+
+
+Section 4.  Information about Donations to the Project Gutenberg
+Literary Archive Foundation
+
+Project Gutenberg-tm depends upon and cannot survive without wide
+spread public support and donations to carry out its mission of
+increasing the number of public domain and licensed works that can be
+freely distributed in machine readable form accessible by the widest
+array of equipment including outdated equipment.  Many small donations
+($1 to $5,000) are particularly important to maintaining tax exempt
+status with the IRS.
+
+The Foundation is committed to complying with the laws regulating
+charities and charitable donations in all 50 states of the United
+States.  Compliance requirements are not uniform and it takes a
+considerable effort, much paperwork and many fees to meet and keep up
+with these requirements.  We do not solicit donations in locations
+where we have not received written confirmation of compliance.  To
+SEND DONATIONS or determine the status of compliance for any
+particular state visit http://pglaf.org
+
+While we cannot and do not solicit contributions from states where we
+have not met the solicitation requirements, we know of no prohibition
+against accepting unsolicited donations from donors in such states who
+approach us with offers to donate.
+
+International donations are gratefully accepted, but we cannot make
+any statements concerning tax treatment of donations received from
+outside the United States.  U.S. laws alone swamp our small staff.
+
+Please check the Project Gutenberg Web pages for current donation
+methods and addresses.  Donations are accepted in a number of other
+ways including checks, online payments and credit card donations.
+To donate, please visit: http://pglaf.org/donate
+
+
+Section 5.  General Information About Project Gutenberg-tm electronic
+works.
+
+Professor Michael S. Hart is the originator of the Project Gutenberg-tm
+concept of a library of electronic works that could be freely shared
+with anyone.  For thirty years, he produced and distributed Project
+Gutenberg-tm eBooks with only a loose network of volunteer support.
+
+
+Project Gutenberg-tm eBooks are often created from several printed
+editions, all of which are confirmed as Public Domain in the U.S.
+unless a copyright notice is included.  Thus, we do not necessarily
+keep eBooks in compliance with any particular paper edition.
+
+
+Most people start at our Web site which has the main PG search facility:
+
+     http://www.gutenberg.org
+
+This Web site includes information about Project Gutenberg-tm,
+including how to make donations to the Project Gutenberg Literary
+Archive Foundation, how to help produce our new eBooks, and how to
+subscribe to our email newsletter to hear about new eBooks.
diff --git a/21400.zip b/21400.zip
new file mode 100644
index 0000000..4a0dafe
--- /dev/null
+++ b/21400.zip
diff --git a/LICENSE.txt b/LICENSE.txt
new file mode 100644
index 0000000..6312041
--- /dev/null
+++ b/LICENSE.txt
@@ -0,0 +1,11 @@
+This eBook, including all associated images, markup, improvements,
+metadata, and any other content or labor, has been confirmed to be
+in the PUBLIC DOMAIN IN THE UNITED STATES.
+
+Procedures for determining public domain status are described in
+the "Copyright How-To" at https://www.gutenberg.org.
+
+No investigation has been made concerning possible copyrights in
+jurisdictions other than the United States. Anyone seeking to utilize
+this eBook outside of the United States should confirm copyright
+status under the laws that apply to them.
diff --git a/README.md b/README.md
new file mode 100644
index 0000000..cf46774
--- /dev/null
+++ b/README.md
@@ -0,0 +1,2 @@
+Project Gutenberg (https://www.gutenberg.org) public repository for
+eBook #21400 (https://www.gutenberg.org/ebooks/21400)