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Singing Lesson PDF
Singing Lesson PDF
A
H
****.*'
THE LIBRARY
BKLGHAM YOUNG UNIVERSITY
PROVO*
UTAH
hATtL
TEN SIN
LESSONS
by
MATHILDE MARCHESI
AUTHOR OF
"
MARCHES]
AND M
V1
BY
*K
TEN SINGING
LESSONS v v
by
MATHILDE MARCHESI
AUTHOR OF
INTRODUCTION BY W.
J.
HENDERSON
Copyright, 1901, by
June, 1901.
CONTENTS
PAGE
Preface
iii
Introduction
vii
First Lesson
Second Lesson
Third Lesson
Fourth Lesson
Fifth Lesson
Sixth Lesson
Seventh Lesson
Eighth Lesson
Ninth Lesson
Tenth Lesson
23
43
59
79
95
117
139
.161
179
An
Appreciation of
Madame
Mathilde
WHEN
consented to employ
my
my mind
ject
of
it
was
in
its
distinguished authoress
by
itself in
these all
she
is
not too
much
to
philosopher of her
art.
iii
and
Gifted as she
is
with a personality at
spect
and friendship
of
all
the great
masters in her art; with a mind saturated with the knowledge of music,
and
thies,
and
that have gone
make
her
life
beautiful in devotion
Madame
esty.
as a teacher
Take her a
is
and
enre-
this care
and patience
are, in
And
Madame's
might be
forgiven in a woman whose life has
been one of endless toil in one great
arena for over fifty years, if she relied
But
to some extent upon assistants.
with Madame it would seem to be an
axiom that what is worth doing is worth
doing yourself; and to this day she is
at her piano from nine o'clock in the
case, absolutely personal.
It
PREFACE
morning
till
and sympathetic,
energetic
and ever
When
who know
and
and
we
this
really noble
full
as
Mistress of her
woman
elects to re-
she
will
of
life,
INTRODUCTION
IXTY
to
the eminent
master Porpora
"This mode
of in-
now
in
which
teaching the me-
was
much more so
it is
vn
in
If this
may
much
wish.
hasty aspirant
no royal road to
less as the
There
is
words
of
of the
most
chesi's teacher
and throat diseases was made practicable by Garcia's experiments with it and
his
intelligent
record of them.
Mme.
demonstrated
cellence of her
I
by the
most prominent
ex-
pupils.
in the
Mme. Marchesi
has been especially successful with exponents of the art of pure bel canto,
the style of singing which calls for the
nicest adjustment and balance of the
vocal means. That such singers as
ix
ficient
on the work
of her master,
who
still is
London.
What
fore,
should
though
have
uncommon
value,
may
on the divine
The w orld
r
art.
is
sadly
taught
all
is
Caffarelli.
the
way
It is
that Porpora
the
way in which
time sang.
It is
the
way
in
which
their
the
first
and
all
exponents of the
INTRODUCTION
old
Italian
manner
of
singing,
upon
is to
sing naturally,
it is
neces-
sary to give so
of the
come a shout
or
it
to be-
a scream.
xi
find
Where
near
to
nature's
heart.
is
them
backs
of
their heads.
Some advocate
And most
their students
that inflamed
vocal
tell
till
presence
felt,
it
and that
make
singing, from
when it is learned
of any music ever
am
it
written.
quite
xiii
INTRODUCTION
days, because he thinks they were better
than ours,
pecially
is
too,
too
young
earlier times.
that the
demands
to
am
of enlight-
mastery
of the
With these he
woman
singer at least
ing, well
tive.
regard to what
ing " (which
is
is
called "
sing-
have learned
Wagner
to
many opera-goers
INTRODUCTION
prima donna, a person who has a robust
voice
style,
who rushes
energetically
from
kind get
Performers of this
they
if
incalculable
harm
to the
cause of good
xv
it
mu-
is
There one must display not only temperament and dramatic intelligence, but
voice of the finest timbre, tones of the
purest
and roundest
xvi
quality,
perfect
attack, perfect
demand
of
either
delicate refinement
majestic breadth or
and
satis-
factory response.
The
greatest
heard could
all
singers
stand
still
and
have ever
The
sing.
of their art
pictorial
Who
that
Etelka Gerster
fiorituri of
Murska?
and
Who
Mme. Marche-
INTRODUCTION
si's pupils,
on the
truth.
I refer, of
The
course, to
Mmes.
colora-
latter is
ture singer
less.
the "
brilliancy
of the crescendo
trill
an example of
tone placing and breath management
which, I feel confident, was not excelled
cadenza with the
in the golden
age
of Italian art.
Yet
above her
faultless
flute is
skill in
foundations of
As for Mme.
all singing.
Calve, too
much is written
ly praised,
scribed
describe
xviii
it
forget that
The
rest is accessory
accessory,
if
you
highly
pictorial
only
In
her
her Ophelie
the scene,
by the produc-
xix
juiiij
rr******
singer's career.
It
true that
is
Mme.
she
is
is first, last,
and
the time
all
her
what
a singer.
pure singing,
skill in
present
is
venture
that
it is
rian shouter
applause of
method
Wagne-
of singing,
There
is
only one
is
ought
to be
xx
their
way.
own
inability to sing
No; the
it
the right
demand
immediate
results a characteristic of our times in
many things other than the study of
singing. But while one need not now
thanks to Garcia, Mme Marchesi, and
their kind
study six years on technic
alone, one should still be content to labor
haste.
It is
the
for
and
of
cious stones.
W.
J.
Henderson.
THE FIRST
LESSON
AFTER
/-%
long
20, 1900.
continued solicitation
directed to
me from
all
parts of
-*-
my
and
of its decline, I
down
have
in writing
finally conclud-
my
bright
and cheery
Seated
studio, far
from
an outlook
the
ill
It is
not
be a singer/'
An
attractive appearance,
of representa-
a sound
and rich voice of extended compass, added
to an ardent desire to become an artist
such is the essential equipment of those
that would travel the fair, if thorny, road
which stretches out before them. From
ear,
aside;
and divine
art only
must
inspire
If
and
good results
reward
be lacking. If
the tentative young singer comes of arstantial
tistic stock,
will not
may
the past
and present
her circumstances
young
her taste
undergoing a process of
ever
is
refine-
is re-
From
its
infancy,
art.
where, as
all
interests,
It is
and
main
objects of
a secondary
art plays
part.
age,
to gather
But
ings
and
of
their
artistically
inexpe-
is
The
to
anti-artistic
which
England than
How now
shall
of
much more
refer is
diffused in
repression
feeling
widely
in America.
the education of a
the melodies
it
scales
busying
to
itself
dolls?
little
creature, its
parents, after
and
is
age,
may
out,
with
it
give
however,
it
piano-instruction, with-
constraining
constant practice.
it
too
to
through pride over their children's accomplishments, summon them from play
to sing
an aunt
an
them
How
often
speak from experience embittered children towards their studies? Now always with regard for their physique
solfeggio (do, re, mi) can be commenced,
7
compass
of
ten
(from
tones
to
E)
should be allowed.
When
twelfth year,
hood claims
all
the
singing
must
Woe
to
junction!
point.
Let
The
be
me
strictly
relate
prohibited.
little
case in
once-celebrated songstress,
bearing they
attracted special
allowed
Still
more
distress-
Now
that the
young
girl's
lips
are
Italian
smile
sarcastic
when
suggest that,
woman.
gratitude do I owe
often fretted
and
my
of
yet,
artistic
education
The soundness,
strength,
and
en-
be
is
begun
prudently,
10
of
course.
It
is
The voice
to the
and it cannot
or any stringed
condition,
a teacher
of the fore-
The whole
upon
is
indispensable.
screaming,
over-taxation,
or
improper
gone forever.
And what of the time that people
nowadays measure off as with a yardstick in planning a course of study?
"That is the question/' Are not six,
use, are
ii
plished
artist?
songstresses.
Is
not
this
as
Parents,
if
art.
When
Failure to
art,
gifted,
diligent,
to accept
Two,
One
of the
veil.
me
Then,
a time
too,
when
to devote to
addition
to
ing
in
is
doubled
the
other words,
voice
illness
when
often
sets
sorrow recurs to
me as I write.
girl,
work
in and
their
An
in-
me much
A charm-
endowed with
a lovely
came
voice,
to Paris
with her
for-
my
study under
quick
direction.
but
progress,
her
She made
mother
in-
the
poor
child
continual
annoyance.
and
and
and daughter
ment; that they had no domestic servants; and that my pupil had to go to
market every morning, clean the rooms,
and prepare the meals. This was too
much
unhappy
she was
taken down with typhus fever and lay
I sent daily to the
in bed for months.
for
the
poor invalid
warm
girl;
14
a stay in
Italy.
long before
my
She
studies.
many
is
now a
singing-teacher.
my
American pupils
are summoned home after a few weeks'
sojourn, parents having fancied that
life in Paris is very inexpensive, and
In
cases
have returned
to
me
Other pupils
has never
To
to
all
parts
the
without
young women
due
reflection.
that have
come
and given
the best advice. Many of them have
accepted the latter; many have disregarded it, and sought counsel elsewhere.
points with perfect frankness
15
When
intonation
is
uncertain,
worn
and the
I
disposition
is
gloomy
the
or
when
displeasing
or reserved
the choice of
an
operatic
career.
To
lamation,
foreign
tongues,
etc.,
thor-
by the
The
stage-setting,
the scenery,
the
and
sister
and cause
it
while
shortcomings.
It
is
slightest
and
attainable.
But now
ers.
Every
student,
so
knowledge
human
To do
of all
voice,
acquaintance
with
the
familiarity
with
foreign
lan-
17
If
My
my
studies with
revered teacher,
four years.
when
or
appeared in
felt
splendid teaching,
In
I
addition
to
his
my
de-
names
Persiani, Alboni;
of Mario,
La-
blache, Tamburini,
18
of the period,
art,
In
my
next
shall explain to
my
fair
THE SECOND
LESSON
HAVE
to
just returned
the
beautiful
27, 1900.
from a
and
extraordi-
gladly would
verse with
my
visit
How
study.
languages,
my
Not a few
of
pupils,
may
as
it
that
the
maiden
inexperienced
and
remain
there,
the proprietor.
and manners
Opinions,
customs,
Europe and
Bitter
and
unpleasant incidents
would often be avoided if the future
deceptions
dwelling-place
of
the
young
traveller
ample, the
in
young
is
good,
and wherein
may
occupy
In small, ill-ven-
bed-chambers,
the develop-
Speaking
toms,
let
me
and return
male
of cusit is
to
make
escorts.
to
not
attend
coun-
This must
which
in foreign parts
Through
tri-
among my
I recall,
enough
it
my
to
duty
the situation
held
a course of action.
came in answer was
The
filled
letter
to
that
with thanks
for
my
me
come
to Paris.
26
however,
the
mother
wrote
me
that
deceived
young
creature.
The
more
pupils, also
painful.
One
of
my
an American, engaged
best
her-
to
The
deception
27
But
let
stories of the
ful,
disappointments of youth-
inexperienced,
credulous,
and
ob-
and resume our conversation anent the art of song and the
means of acquiring a knowledge thereof.
In the past, this noble art was practised
by experienced teachers, who made it
stinate maidens,
who were
The names
Italy
it;
of
both sexes.
proof of
of
than
it
is
28
and
stowed by
voices
pensable.
nature,
It
is
is
absolutely indis-
and
with infinite prudence hard and unyielding voices, and to avoid, at the same time,
To quickly
attain celebrity
of pupils,
made discoveries
29
I invite
notice to but
false teachings,
rience rejects,
my
I.
which
a few
my
of these
long expe-
warn
readers.
Some
of the
new prophets
say, there
To
voice.
The
particularly
when
some
the voice
is
months
of
have had,
30
outcome
successful
i.e.,
perfect
effaces
recollections
the
of
its
the
all
past
toil.
pass
to
every
songstresses
demand?
Almost all
especially on the
sing,
have often
so-called veritable
effort;
"holes"
on
Through
fit
management and
Hence
it is
limitation
can be avoided.
teach-
it
being
understood,
however,
by un-
which
many
teachers counsel,
and which
women
I
When young
Concerning breathing.
often
upon me to try
notice, on the attack
call
my
their voices,
of tones,
an
"You have a
remark;
"it might be better to postpone your
"Oh no/'
hearing for a day or two/
comes the answer; "my teacher let me
breathe through my nose, assuring me
that by so doing my palate does not
become so dry; but he forbade me this
cold,
breathing
when singing
airs/'
Is not
are three
ways
only one
is
of breathing,
of
which
be recommended.
This
is
"diaphrag-
matic breathing/' the breathing involving the upper or the lower ribs ; " clavicular
and
lateral
breathing" are to be
unconditionally rejected.
often resorted to
32
way
because
The bearing
of the songstress.
It
were imploring
The swaying
of the
body
many
mercy.
its
to
and
fro,
teachers ad-
And
there
by pressure
of their
such ignorance! I
have seen its victims suffering from
cramp of the larynx and ultimately
fingers!
Alas
for
Length
of
practice-hours.
There
come a
two
singer, one
to three
the case.
must
practise from
hour daily. I
first were so easily fatigued that they
sang twice or thrice, ten minutes each
time, in the class-room; later on studied
their operas,
with fresh
room.
lie,
indispensable.
is
The
ef-
creased
by
their
provided
be
sedulously
where speech
avoided.
is free
34
In
countries
and unconstrained
the
voices
strong
are
and resonant;
in others,
childhood
on,
discountenanced
is
the
as
vocal
sets
in,
and
and
voices
my
On
differ
No
in passing
from
one register to another; no forced, grinning smile worn during study; this is
but a mask applied to the face, and
leads to the formation of the shallow,
open tone that the French term a " voix
blanche/'
almost
impossible.
In
vocalizing,
as
position of her
this
And now
readers,
and
must address
to
discern
my
inquiry
may
speak
men
Amer-
especially those of
my young
their
faces,
al-
and
offend them.
all
of
them
Among
noses?
among
her
am
stately
called
when
bearing,
how suddenly
to earth
tone:
young
be
girls in
self-reliant,
how
seriously this
imitation,
to
courage, then,
all
will
Take
ye young rosebuds, and
the very
reverse.
be changed as at touch of a
conjurer's
wand.
Personally,
if
this
toil of
ticular.
young
girls
overlook
How many
chapter!
How many
this
important
that attend
my
for,
as
is
well
give
In
my new
the
fall
first
lesson
girls I discourse
subject of food.
may
very
In so doing
on the
fear I
young American
my
friends in particular,
but, notwithstanding, I
on
this
38
digestion
may
habits
ex-
hard of digestion.
Then,
by
all
indulged
in
one's
own
is
strument.
Bicycling,
rowing, dancing,
long walks, reading late at night, singing too soon after meals, exposure to
heat
or
cold,
parties
or
social
excessive
theatre
too
frequent
gatherings
sel!"
Yet be comforted,
this teacher seeks
my
dear children;
life to
the
instruction of youth;
brilliant future.
THE THIRD
LESSON
RECEIVED
letter
10,
1900.
Its
Melba.
heard yesterday
under your
ability to
43
This
is
the last,
first,
Their
wander
number
me
increases
for counsel.
daily.
They
and
of these ill-advised
young
songstresses
Her voice,
although of pleasant quality and great
compass, was so weak, so uneven, so
thin in the medium, that often there
was no tone. She had been made to
attack the tone with closed mouth
(humming it) and with open glottis,
and to sing the scales in the same fashion.
should like to learn the object the
teacher had in view when he advocated
this nonsensical method.
It is easily
I
discerned
that
negative.
When
its
outcome
arias
is
why
wholly
should
mouth
and
unnecessary,
tion
by
to
articulation of dif-
This too
ferent words.
undertake
is
simply absurd.
finally
tone
ing
my
is
the worried
and
tortured
this,
first
may
be related an anecdote of
singing-teacher,
Schmidt by name,
On
of the conservatory.
the platform
man
made
left
me, and
45
No
my
more
and blending
May
is
con-
their
made much
shall hear of
me and
Personally,
of
my discovery/'
and
of
him
came
true,
methods
heard no more.
As to my extreme severity, this is
indeed a new discovery, and sheer nonsense as well. It has been said that
during class-hours my poor pupils shed
floods of tears, that on the slightest
provocation music-books fly in the air,
I
and
that,
mands
in respect of study,
are excessive.
It
my
de-
but
instruction,
left
to
it
assistants,
my
and concert
to
it
classes.
The
my
pupils,
many
of
whom come
and whose
to
me
from
afar,
make
ton,
the
fills
my
ness that
often
art that
earnest-
Many, unhappily
to
families
too
conscientiousness,
sadly.
and lacking
and tax
my
in
patience
my
advice and
47
of
her
photographs:
whom
Marchesi,
"To
Madame
and always
love
there
is
saint,
it
is
she.
Nellie
Melba, 1894."
Young and
difficulties
studying with
me from
to
commence
To become a good
and
must also
be musical, so that when one faces a
stern, watchful, often quite unsympapatience are needed, but one
thetic
public,
possession.
48
self-
dif-
music were more easily overcome; Italian music with its fluent
melodies was more readily comprehended and learned; but now that
Acuities of
Wagner and
wield
the
melody and
the musical phrase, one must, es-
sceptre,
to
followers
his
to
cerned,
possess
thorough
musical
education.
Here
I will
furnish a
little
interesting
same
She was
extraordinarily diligent; further, no unskilled teacher had impaired the charm
In a very short
of her lovely voice.
time she acquired both French and
studied
in
the
class.
Italian.
49
me
left,
in
be wished
for.
felicitous
a fortunate chance,
having been called upon, when still a
My
little
title role
of
"Lakm6."
5i
When
we
our
transferred
however,
to Paris,
art,
and sang continually in private dwellings and at the musical matinees that
took
place
in
our
Rubinstein,
musicians in Paris
broise
others
Thomas,
took
All
house.
Delibes,
lively
the
Am-
Gounod, and
in
interest
extraordinary individuality.
her
During a
me
soon
after my arrival in Paris from Vienna,
and endured six weeks, Blanche gave,
alone, unaided, and to my complete
satisfaction, the lessons I should
have
given.
ly
the
cultivation
My
daughter's
of
the
female
voice.
up wholly
to art.
52
as a singer
the joy
is
and
pride of
my
life.
my
Of those of
pupils
themselves to teaching
that devote
may
gather experience,
way
of teaching,
and when the results are quite satisfactory I award them certificates, which
in after-life they cannot but find useful.
numerous. The
teachers of the future too often suspend
their studies or imagine themselves,
too often, accomplished educators.
My
I
can do
revered
master,
celebrated
who
still
Manuel Garcia,
lives,
the
had more
intrusted
me
with beginners,
whom
dif-
This
As
handed over
riding accident, he
all his
I
young
to
me
pupils.
and again,
incomprehensible;
to
the
hopeless
the voice.
aside from
Does not
many
this
explain,
54
when
several
It is
an indisputable
must gradually
as well as the compass
me
would afford
It
infinite
artistic
satisfaction,
and be
to pupils,
if
of great
advantage
them
intrust
me from
to
"A
their work.
the outset of
no moss."
useless
toil,
as
it is
artist's after-work
is
In
the
the foundation of an
and
of the future of
of all.
"She
is
absurd!
have said
of me,
a finishing professor."
If this
were
55
so,
when
how
How
could
the voice
I
is
i*>
THE FOURTH
LESSON
N my
25, 1900.
spoke of a
new singing method that a teacher
in Italy is endeavoring to bring
into popularity. I refer to the " umbrella
I happened upon a newsmethod/'
paper article describing this highly inlast letter I think I
append a trans-
may
my
The
readers
some amusement
article is entitled,
Method
in the
afford
at least.
"The Umbrella
Teaching
of
Singing/'
is
The Art of
Song, and is written by Madame Lankow-
a chapter
of her experiences
"In
new
59
art of song.
One method
down
An-
pel
the
breath,
without
ruffling
the
fluid.
and blows
at
a feather
five or six
moves.
to continue her
Being ask-
of
this
method.
"The
Then
be increased.
When
the umbrella
61
an
air of
While
profound contempt/'
in
method"
Germany
and
"umbrella
systems may
the
kindred
so
just
as
more damaging
While I am, and have
to the voice.
ever been, a sworn foe to the harmful
characteristics of modern teaching, it
is most pleasant for me to discover that
nonsensical and
still
my
views.
Of late years,
especially,
tem
The
right sys-
cannot be imparted to
everybody, nor can it easily be set down
in writing, for with a physical instruof teaching
rules
and
ex-
ceptions;
to
the
readily
a good
do dam-
pupils.
results in
an outpouring
of breath, with-
this
to
Garcia,
some
Strange aberra-
in order to
of his pupils,
make
who were
clear
rather
or,
the
When
the light
was
closed,
light
imper-
difficult or
a horizontal position,
it
with some smooth
would
article
depress
with
To bring forth
Many
individual defects
and
short-
and expert
teacher.
The
frequently attempted,
if
must also
note another defect, and one demanding
close attention: sometimes a pupil canit
might
the organ.
tire
Many
by
wood between
my
and show
their
pearly treasures.
and
is
often
made
of me, verbally
classes of
my
school.
the questions
doing
more
so,
to
plaining
in
this
however,
my
why
I will
studies
I
now answer
Before
regard.
must
revert once
with Garcia,
attach so
much
ex-
imporClass-
parted in conservatories;
65
all
teachers
in
gave individual
Paris
The most
celebrated
instruction.
teachers
in
my
after,
contemporaries.
bers,
nor was
now prevails,
it
num-
it
Hence
had studied
several
roles,
and so
on, I
commenced learning
Arsace, in "Semiramide."
For a long
while I sought some compassionate
soul that would sing with me the two
beautiful duets between Semiramis and
Arsace. At length I became acquainted
with a pupil of Garcia, Madame Leblond,
who knew the role of Semiramis. I
wrote her,
it
appears, so touching
66
an
appeal that
she
studied
From
gave
moved her
it
with
day
that
me
to pity,
two duets.
the
determined,
if
ever
my
and
might.
it
with
all
give
individual lessons,
the education of
cial care.
when they
But now
my
school.
which
may
have four in
all,
two of
be described as preliminary
classes.
am
The second
67
ning.
singing
knowledge
at
of
the intervals,
beating
sight,
time,
etc.,
expedients.
it
as
thank
As
me
for
my
little
rebels
determination.
When
the voice
marred by
is
unspoiled or only
is
slight
a personal matter.
defects,
progress
is
rapid ;
if
the
is
entered upon.
attack of tone,
the connection
registers,
the
art
of
When
the
breathing,
and equalizing
of the
the vowel
only then, do
are attained,
I
say
their
young persons
and mostly im-
to the
and
then,
deliverance: "Children,
and
As
and to
the requirements of recitative, and of
the art of interpretation, style, and pronunciation, I usually commence with
Mar-
simi,
Scarlatti,
cello,
Lotti,
Pergolesi,
and
Donizetti,
may
still
be sung
69
if
my
necessary
first -
named
Fraulein
companied
an Austrian
class
Strachwitz,
has ac-
is
fre-
in-
occurring
in
experience gathered in
my
school.
my
As
voice-
my own
years.
under my
absolute personal guidance, their knowledge must necessarily be most imperfect.
In the operatic class, M. Mangin, conductor at the Paris Grand Opera House,
has accompanied for the last seventeen
method,
is
as
are studied
my
upon
this, for
70
most compositions
lose greatly
less
baneful
of Schubert,
Brahms,
I
in
results,
the
compositions
Mendelssohn, Schumann,
etc.
and
songs by heart, for the greater improvement of the memory. As to the accompaniment, I never permit that the melody
be played to help the pupil ; this vicious
particularly in
practice prevails
and
is
Italy,
of-
while prosecuting
her studies,
attend
This is
and a priv-
the fruit of
my
experience in the
sympa-
of
a similar ad-
vantage.
My
concert
is
over-
few young
nowadays seek to equip them-
women
class
for
The
physical
re-
German
and duets by
every year,
in
all
the great
early July,
duets are
72
excellent harpist
who
awards
for
the
And now
for
The
operas of Mozart,
Weber,
Ambroise Thomas, Rossini, Verdi, Donizetti, Gounod, Delibes, Massenet, SaintSaens, etc., and the younger composers,
Gluck,
Beethoven,
Meyerbeer,
73
throats.
Concerning
the
Wagnerian
new pronunciation
have a hard
struggle with the singers that come to
of the
text,
are
thereby
sundered,
past
knew
mind
of
the
listeners
with their
song.
and good
phasized
words
pronunciation
se/ien,
improper,
how
of
stefeen, ge/ien,
erroneous,
etc.
when
the
in
;
how
in the
The specimen
may
follows
75
all,
as
As
I,
An
Of
An
.Ancient
Oak
And mused
Over
distant past,
An
Overpow-
ering .Anguish
Overcame me
And
I wept
At thought Of Absent
friends,
Of .Evanescent
The
joys,
Of Advancing Age.
reconciliation
of
the
bel
canto
my
time!
cer-
THE FIFTH
LESSON
versation
letter
begun
my
in
concerning
fourth
Wagner, with
my
first
whom
first
little
ex-
citement.
It
happened in
1856,
of
in
connection
the
one-hun-
artists,
was subjected
completely
that
People forgot
to.
the
much - tormented
and
therefore possessed
of
the
same
January 27th
a date that
will never pass out of my memory.
At eleven o'clock in the morning Liszt's
visit
was announced, and although
I was abed, suffering from a fever, he
besought me to sing at two o'clock on
the same afternoon the music assigned
meister.
to
Donna
is
"Don
and entreated
help him out. Every one
each one to
Vienna
80
press.
alone,
he
said, could
come
to his aid.
was impossible
that
it
true
friend
in
decided
abandon a
Ill
though I
bed, made a
to
distress.
sprang from my
hasty toilet, went hurriedly through
the part with Liszt, who returned at
noon, and at the appointed hour stood
beside Madame Theresa Titiens (Donna
Anna), Herr Staudigl (Don Giovanni),
and Herr Ander (Don Ottavio), all of
was,
their
roles
countless
on hot
coals,
and
to this
was literally
day marvel at
out well,
however,
and
It
turned
have never
regretted
it,
active occupations.
It
was towards
Wag-
81
human voice;
in particular, of the delicate, I may say
fragile, female voice.
He said to me
had no conception
of the
and that
compositions he attached to
it
but
in his
little
82
As
vocal.
it is
realistic
mann, Brahms,
etc.,
are
Wagner was
unapproachable,
sidered
On
proud.
depicted
severe,
as
con-
and
intimates
with
whom
They
circle
him
represented
in
the
family
natured individual.
When men
in the
why
It
seems
to
the singer
me
must not be
forgotten.
What,
As
hinted at?
concerned,
far as
can
offer
trait I
have
just
self
ble,
appearance in public.
sort of
But I
and will
When
revert to
my
educational theme.
and
in
confiding,
good
and abounding
pliable
As soon as
qualities.
and
their
society claims
that
a sort of revolution is preparing
a pronunciamiento, so to say, is making
To
ready.
at peace
no small
young
matter,
artists
and a man's
will is requisite,
and preserve
is it to
speak
order.
of
and
artistically,
and look
All
to
their
my
cele-
and
anew
must not
Referring
class, I
to
my
voice-training
neglect to emphasize
conduct
it
alone, unaided,
the correction
of
natural
defects,
the
a legacy to my pupils.
Time is needed to become possessed of
a method, and on this account I am inshall pass as
consolable
their
when my
term of study.
may
interest
my
school singers
and
left
When
this
imply a
my
dogni's,
difficult exercises of
was
It
of
a beginner, were
there that
conceived
each
the
and
etc.,
trill,
all in
to
melodic form.
study of exercises.
I believe my idea to have been correct,
for to proceed directly from the scale
to the singing of an air impressed me,
to carry further the
while
the
vocalizzi
are studied,
voice
In
my
myself, as a
voice -training
enumerated below
and the
capabilities of
my
pupils
suggest
Opus
2,
mezzo-soprano.
87
Opus
Opus
3,
5,
or contralto.
Opus
6,
or contralto.
Opus
7,
soprano or contralto.
Opus
32,
33,
prano.
Opus
Opus
Opus
4,
11,
8,
soprano.
Opus
for
Opus
22,
for
and
Op.
24 and
252
Offertories
9,
and 2
words.
soprano;
theme and
with
variations,
Italian words.
now
I will
give the
first
singing lesson,
not
While taking
do.
breath
it,
five;
Good,
mouth.
will
count.
very
good
Why
that
it,
ten.
Now
open your
grinning smile?
voix blanche
the
white
no
when you
it
air
Now
right.
let
That
once again.
is
to another.
Try
to
and do likewise
in respect to
head
register.
not to be expected
It is
connected and
made
be
Sing
for
me
first
two,
five tones.
then
Good
That
will
90
to register;
it is
im-
to-morrow.
is
ended.
in
an
them
is
so great
advantage.
And as I am now dealing with
beginners, let me repeat a word of advice proffered in an earlier letter, in a
general way: if you wish to preserve
that I cannot accord
9i
this
your
voice,
mobile
rides,
renounce
bicycling,
auto-
in
brief,
dancing, rowing
all
THE SIXTH
LESSON
'"
their
by
letter,
ting with
and the
and
so to say,
them concerning
my
chat-
school
briefly to the
When
great progress
Then
yearned to
observed, in addition to
excellent novelties
and
banks
many
inventions, that
all,
in music.
practically,
for
95
September
16,
those conducted
moureux,
as also
music -loving
public capital opportunities to hear and
acclaim the achievements of native and
foreign composers.
Gounod, Ambroise
afforded
the
or
rather, melodyless,
everlastingly
drawn
musical phrase,
out,
As
great desideratum.
out of a hun-
are of the
inclining
strikes
in
me
different
one's taste
direction,
it
re-
of both schools
Juliette/'
"The
"Samson and
Prophet,"
"Aida,"
Delilah/
and "The
the
It is
house is
even thus
"Mignon,"
" Lakme,"
are on the bills. Nor
"Manon," etc.,
must I forget to mention in this connection the young French composer Charpentier, who has just now achieved a
triumph, at the Opera-Comique, with
his
cavello, Puccini,
operas,
" Cavalleria
Pagliacci,"
Rusticana, "
"I
triumphal
world.
of its talented
Humperdinck,
whose lovely and melodious "Hansel
und Gretel " has already been represented in two hundred theatres with overwhelming success.
As I exalt melody, I presume that I
composer,
Engelbert
shall
to progress,
unmerited.
is
love
strumental music;
and marvel
bow
in-
genius
to his
brought forth; song, the bel canto, however, he has not only neglected, but has
dealt it a heavy blow by setting singers
and
I
throats
their
too
gigantic
when
tasks.
I note,
have
in
lis-
to strug-
upon them
fall
in the fray
career
My
made
is
inborn;
whatever
love
unmeretricious,
natural,
I
know
and
is
melodious, simple,
poetic,
will not
bow
beautiful,
to
an
and
idol that
with
its
advances and
its
recessions,
inventions,
their
great
advantages,
but,
because
this,
Is
99
names
women now
Countesses, baronesses,
bearers
of
beheld,
resounding
less
who have
and lack
and the
titles
are
This
is
instrumental work
never, in truth;
but
it.
is
this?
Possibly
art
seriously,
who do
are
to
ioo
the
Whose
youthful
blame.
Hence,
dear pupils,
once more,
and
ambition, to
out of caprice or
kill time,
bury
it
The
out of sight.
little
revolu-
a few years
ago.
Up and at the enemy, children,
and the palm shall be yours
And now, dear readers, I ask your
tion I refer to only broke out
Let
me say
my
while
my
method
the
for
same
on account
cultivation
of pltysical con-
able.
"How many
day
in this class?
to-
deep contralto,
may
thoroughly
etc.
and so
my
on.
will
first
proceed with
little
con-
Stand
please,
tralto that
to sing
You
mouth
properly,
if
if
your eyebrows
raise
many
(as,
unhappily,
do) until
a word,
medium
In the
register.
initial
the voice
to
furthermost limits, to
its
prevent fatigue.
I
must not
contraltos
tones;
the
hardly
attain,
medium
fitted to
the
ever
possess
exceptionally,
register,
to
head-
in
concert-room.
The range
of
the
contraltos that
had only
103
have taught
six to eight
The
registers
must not be
forth
a lovely
Good,
tone.
but
Bring
why
will
ceed to
natural
(sol)
with chest-tones,
medium register is
tible; the main thing
the
scarcely percepis
must have
bleated.
Formerly you
cultivation,
than
so-
"Now
Now
blond Bertha,
then,
do you
What,
platform.
No harm
precious
quick,
so,
time.
am
ascend the
too shrink
befell
your
waste
do not
aware that
my
this
sometimes im-
noted.
ever
and
in
One learns
less
presence of
high soprano voices are easier to develop than the unwieldier contraltos and
mezzo-sopranos, but you have a less
extended chest register. In many coun105
tries
opinion
of
the
the
that
prevails
cultivation
the chest-tones
complete
their
without
chest-tones
without a
loss.
like
is
So now,
string.
voice
violin
my
blond
or
mi
the medium.
flat
(re or
before
this,
if
necessary.
What
are
do so?
medium
(fa)
is
sheer nonsense!
voice from
on the
natural
fifth line is
The
(fa)
to
the foundation
We speak in medium
How
106
me
perfectly.
medium
passage
higher and
fret
Prudence
Do
not
is
to the head-tones,
higher?
still
You must
do.
the limits
it!
of
When
on the highest
wish
This
not con-
the
of
mother
the
forget
twittering
presents no dif-
too, is excellent.
to sing
You have
You see that
very good!
Good,
words.
voice.
wisdom.
hear the
that
tones,
your native
country, but that they admire less in
Europe, I am always reminded of a
remark of Rossini's, who was wont to
call the high tones not head-tones but
skull-tones.
We have sung to-day, my
people
like,
perhaps,
in
you
"Now
name,
shall
have other
exercises.
Your
my
dear
young
rosy,
107
lady.
Rose.
observe,
and
You
'
me), forbids
advanced
a pupil's
first
of her lips,
is
chosen.
perfection.
You
are to sing
as
my
all
you
your
of
ground.
You
observe.
will
of beginners,
recognize,
that
my
is
sopranos to listen
"Your
lady?
to.
Valentine.
of Valentine in 'Les
others,
fall
to
young
Huguenots/
like
tone.
it
observations
in
the
Remember my
last lesson.
Try
managed, but
mercy's sake, why does your voice
register
for
is
excellently
109
The tone
That is excellent
has resonance and power. Your three
former teachers would have spared you
the tremolo had they understood the
Excellent
rich
and time
all will
compass,
be
that your
may
speedily recover.
but
will
my
give
two
them
and next
time make good the deficiency and reward them for their patience. Your
names, my dear young ladies. What!
two Louisas! I shall have to call you
brief lesson,
nevertheless,
no
Louisa
and Louisa
respectively.
2,
fitted for
the operatic
singers
nowadays
and have
in point of success,
tion to
submit
make and
less exer-
fewer annoyances to
to.
a knowledge
languages is absolutely
indispensable, for songs by Mozart,
Taubert, Weber, Schubert, Schumann,
Brahms, etc., must be sung with the
original text,
of
many
of the translations
being unserviceable.
will
me some
too
get on capitally.
scales.
Now
sing
The
in
registers,
Who
voice
is
not
and
taught you?"
of
good compass.
ulated;
but
and the
the
resonant
was a
"What!
pupil
my
of
"My
mother,
Manuel
former
tremulous,
who
Garcia's."
teacher?
Now
No?
Well,
will
and so on.
" Good - morning, dear pupils, but a
word before you go. You asked me at
the beginning of the lesson for a pro-
gramme
my
Massenet Celebration.
Here is one, the only copy left me. It
was a delightful, a memorable event.
The programme included thirty-two compositions of Massenet's which the composer accompanied himself. Massenet
of
per-
me
set
band
at
the opening
of
the
American
pavilion,
ica!"
THE SEVENTH
LESSON
YESTERDAY
received
1900.
i,
sin-
found myself
in presence of a father and
his daughter, the latter a pretty girl,
tall, with chestnut hair, dimples in her
gular
cheeks,
visit.
new
'
'
'
young
girl
so that
I,
to content
immediate-
on the
sofa,
had
Has
daughter musical?
she,
perhaps,
parrot,
for
only
make us
to
he screams, and
is,
Nevada, after a
moreover, par-
This winter
ticularly intelligent.
ma
laugh,
Em-
brilliant career
first
time to
in
San
certs.
118
studying
and
with
Emma
Nevada's
are completed."
went with
common compass,"
said
I to
the father;
is
musical,
for,
without having
Hence I
her education, and
no obstacles to
will the more readily undertake the task
as no teacher has meddled with her
voice/
From the very first words that
I addressed to the man, the kindly exsee
119
direction.
and
said:
"My
me
madam, I have
you, and have the
dear
120
the girl
still
"To what
extent
am
indebted to you
for
tion,"
was
my
however, that
it
every day."
experiences
among
in
my
professional
strange ideas of
art,
and
life;
found
especially of
was
change a mezzo-soprano
Hapless
voice into a high soprano.
art of song! what else has the future
I
asked
to
bond
my
In
of
last lesson I
upon one
two points
hinted at before. When you study at
home see to it that your piano be not
particular stress
not diffuse
if it is its
and the
itself,
or
tone
voice
room
occupy
in your "pension" be airy and have a
Let
thereby.
the
3^ou
southern exposure.
almost dangerous.
pupils
When
gone
is
at all
all
day, chatted,
weary.
read,
boarding - houses.
in
write
friends,
letters,
or
converse
with
Only
go
of evenings,
for
in railway carriages
or walking
is
usually so loud
is
w hen
r
inhales cold
besides dust
for
prevail
air,
;
and
in
all this is
summer hot
most unfavorable
I
observe
my young
friends,
and consider me
air
al-
you
than
it
will
heed
it
to the wind.
You
123
that nothing
is
so hard for
young
girls
your communication be: Yea, yea; Nay, nay; for whatsoever is more than these, cometh of
evil "? and has not the tongue in general
(Heaven forbid that I should say "the
female tongue") worked already ill
enough? Also let me proclaim once
more good-bye to the bicycle and to the
let
You
automobile.
Very well
But now
;
all
agree
to
this?
am content.
Let us begin.
quite forgot to
tell
you,
when we
last
first
no one
or,
school,
whoever
given preference,
is
punctuality
young
my
are
ladies
zeal
and
and the
encouraged,
sleep, are
days.
Valentine came
Valentine
vicious
tremolo
begin.
were
124
first
to-day,
Ah!
but
if
so
that
overcome;
evil
many
You
with which so
just
when you
clearer
not carry.
descend, else
will
it
medium
be
tones,
easier.
all of
my
Purchase
you must
do,
may
Method,
and bring
it
as
with
Many
teachers
may
too,
They
organ one should practise with halfvoice (mezza-voce), but this also is wrong.
Through this process air passes through
the vocal cords, they
grow
and the
slack,
and not
beginners,
in
relation
to
ac-
Understand
the voice
me
well,
dear children;
from register
through slow
practice.
Many
teachers
no
direction whatever
126
and con-
ceals
Now we
flaws.
its
shall
see,
Valentine, whether
my
instructions
away
Louise
II.
the
so, for
To
smile.
but no,
I will
classmates
shall call
scales,
for
grupetti, etc.
Good!
thing
is clear
trill.
No, that
Every-
clean.
Now
for the
a wrong
trill,
a mere
and
is
Excellent!
who
you
tise it?
see
What? You would not pracWhy, pray? Try it, now; you
study;
to
trill
We shall
roles.
method.
do in troublesome cases
place a small piece of wood between
your teeth; but since the incident I will
teachers
still
relate
I
fell
into
My little
you as a
to
open your
now
quiet,
it
you bring
Bravo
You open
forth several
This
is
not right
the tones
vowel.
"A"
I
to all others, as
129
it
brings most
ef-
and
must
must be
directed,
as
women's
much
as
so to put
of
it.
course
require
feeling,
declamatory power, as
and
style,
a
music
must study
slowly and conscientiously, and later
on they will sing their runs and adornments in airs from "II Barbiere," "Semis
essential,
iramide,"
hence
"Lucia/'
though there
is
they
etc.,
no
130
rapidly.
little
Al-
opposition
nowadays
their
to
music
jugglery,
coloratura
sugary,
called
is
and so
on,
singers,
makes
one
leaps,
notes are,
staccati,
to
this
applauded than
to the heart.
all
I,
is
dross,
no theatre can be
and
the operatic
indispensable.
trills,
neck-break-
and sky-scraping
day, more heartily
My contralto's,
are dissatisfied
Why, you
Rossini was
are
en-
and
his repertoire
Algieri,"
require
coloraturas,
but
French
numberless
also songs and romances,
voice
contralto
airs,
there
are
German
and
Bach, Mozart, Handel, and so
beautiful
lieder
airs
by
on.
Do
the celebrated
songstress,
mortal,
am
Marietta
but a poor
contralto.
You
the
concert
room.
Begin.
What
now?
say,
out
is
dying
much
of
longer.
If so,
132
before listening
to
my
last
two pupils
other,
fast.
liver
tion.
brief discourse
take
it
for
no
lesson.
am
young American
erence to
conscious
that
my
cakes, bonbons,
133
and sweets
must be forsworn
by those that are ambitious to become
You smile? No, this is no
singers.
laughing matter; one must give up
much if one would compete with the
nightingale. Now, my poor hungry
Bertha, in order to punish you and
keep you from starvation I shall give
you to-day but a short lesson. I advise
all six of you to henceforward bestow
great attention on the food question.
Poor Bertha, your voice is as hungry
as is its possessor. Otherwise your
scales are well connected; you have a
generally, but all these
head
Let
tones.
me
see whether
the
fundamental note
is
trill,
given,
tune.
Now
be
homeward and
off,
sit
be kept in perfect
dear Bertha; hasten
trill
down
134
to
a good lunch-
derstood
the
lesson
capitally,
Louise,
one's talent
is
no
light task.
medium of
The least
and
criticised
by the
and confidence
be well.
in
my
THE EIGHTH
LESSON
IT
is
able.
Would
of
my
readers,
experiences.
The programme
yesterday bore
pupils,
my
of
pupils' recital
names
the
of
twenty
An " audition,
a source
'
'
or public hearing,
of great excitement
and
re-
skill,
of
the
I left
ing
that
unbearable,
my
my pupils
on my arrival,
several of
hors de combat.
Happily,
young women,
soldiers,
the
my
me
success
quite exceeded
public
and
Let
rose again.
the
assembled to greet
artistes' foyer,
that
like
beheld eighteen
down
the
at once
"audition"
my expectations,
received
in the
depressed spirits
set
of
me
and that
for the
and distinguished
partic-
concert-room,
numberless obstacles. No
one will be first on the list, and no one
last.
So this time, to avoid reproachful
encounters
looks
and
tears,
had recourse
to the
madam,
number."
am
I
first
for
in
("Meditation
Massenet's
de
"Ave Maria'
Thai's"),
later
beautifully
violin
by M.
and long-continued
This incident recalls to me another that happened some years ago in connection with
a pupils' "audition." One of my American pupils came to me, just before the
eventful day, with a programme in her
hands. It was Miss Z
n, an excellent contralto.
She had been assigned
the fifth number.
"The place is not
suited to my talent/' said she to me, in
an aggressive tone
titled to
something
me number
This
is
plaudits.
"I
of voice.
better.
eight or
Please
number
impossible,"
am
en-
make
ten."
answered.
of the
and asked
if
now a
be allotted her.
did not sing,
no more.
neglected.
her voice
no easy task,
let
me
observe,
But
overcame
all difficulties;
now
the sing-
beautiful,
143
from "Samson et
Dalila," which she sang excellently;
she, however, insisted upon taking an
air of Gluck's which lay too high for
her.
A few days before the "audition'
I was handed a letter from Miss N
in which she taxed me with injustice,
and announced that she would never
again set foot in my house. I was
astounded, and can even now find no
words in which to express my indignaI
selected
the
air
youth,
how
Enough
of
this,
however
my
was as
follows
144
CONCERT CLASS
Ave Maria
("
Meditation
Thais
de
")
Massenet
"
Von
(b)
"
Vittoria
Mile.
(a)
"
(b)
"
(b)
vittoria
Brahms
"
Carissimi
I"
Pur
dicesti
Mattinata
Miss
(a)
ewiger Liebe
Amy
Air des
Air de
"
"
"
Lotti
"
Tosti
Castles (Melbourne)
Noces de Figaro
Don Juan
"... .Mozart
"
Mozart
Le Reve de Jesus
Mme.
Viardot
Mme. Suzanne
Handel
"
Pertat (Paris)
Massenet
Handel
(b)
Air de " Terse "
Miss Florence Gau (Grahamstown, South Africa),
(a)
Elegie
and M. Courrace,
Violoncellist of the
Grand
Opera
Air de
Air, "
"
Le Barbier de
Mile. Marie
Seville
Fowlin
145
"
(St.
Rossini
Petersburg)
Air d'
(b)
"
Herodiade
Noel Paien
Don Pasquale
Mme. Tryphosa
*
"
Air de
"
Donizetti
Batcheller (Boston)
"
Titus
Mozart
Adams
Miss Clara
City,
Massenet
Massenet
Nebraska)
and M.
Grand Ope*ra
(Chicago),
Clarinettist of the
Lefebure,
OPERA CLASS
Air,
Duo
Maillard
Les Dragons de Villars "
Mile. Margaret Kaftal (Warsaw)
"
"Romeo
de
et
Gounod
Juliette"
and M.
Laffitte, of
the
Grand Opera
(a)
Air
(b)
Air
Le Cid
"
Mile.
Massenet
Saint-Saens
"
Aida "
Miss Augusta Doria (Boston), and M.
Duet,
Verdi
Laffitte
Air,
"
Le
Freischiitz
Mile.
Duo,
"
Weber
"
Lalo
At the Piano
I46
At the close of the concert, the beautiful and silvery high voice of Miss Parkinson, blending with the noble and sonorous mezzo-soprano tones of Miss Doria
in the duet from " Le Roi d'Ys," literally
Amneris
in " Ai'da."
Massenet,
who,
as
have already
my
sing-
as follows
My
In
the country.
2.30 P.M.
Was
it
Massenet."
for Massenet,
my
"audition/' to re-
in
Frankfort,
Museum
a very wealthy and busy man of business, established years ago this most interesting museum, which contains real
treasures.
Besides numberless other invaluable articles, it includes autographs
of J. S. Bach, Beethoven, Haydn, Schubert, Carl Maria von Weber, Robert Schumann, Franz Liszt, Richard Wagner,
Hector
zetti,
Berlioz,
Lully,
G retry,
Donietc.
few weeks back he enriched his collection w ith Mendelssohn's piano a Broadwood upon which the composer played
during his sojourn in Frankfort. The
piano rests upon four legs; it was formerly the property of Mendelssohn-Bar-
tholdy's son-in-law.
was on
It
this in-
make
haste to see
But
fear I
time to-day to
turn to work.
What?
time?
ever,
floor.
Whose
turn
is it to
begin?
to
You have
The
take the
Louison,
business!
practised
well,
dear
is
already better;
In the operas
Louison.
you
trill
on the trill is
often unavoidable; but do not practise
that
it
The
trill
ex-
ercise in itself,
falling
of
larynx,
the
is
and
tiring,
shall
some of
my vocalises with words. Take my
"Theme and Variations/' Gpus 9, for
mezzo-soprano; the Italian words by
from to-day permit you
Marchesi.
Salvatore
to sing
thus be
shall
must be able
All
my
pu-
French, because of
man, because
its
nasal,
and Ger-
Now
Marie,
home.
for
if
are
my
contralto.
Let
me
it.
hear,
at
The connection
of
Excellent
the registers
is
greatly improved,
and
as
palatal
they
lately
sounded.
Do
Have you
soprano.
me
Let
ises?
practised
hear
my
them.
vocal-
Capital!
instructions
most thoroughly. Now you must purchase a small air, "In questa tomba
oscura/ by Beethoven. Look through
it from the musician's stand-point only,
learn the Italian words and bring me
a translation thereof, and I will then
analyze the aria with you, and insert
the breathing marks so that you may
You will do so,
practise at home.
will
you not?
delight, I
Now
first aria.
comes Valentine's
turn.
am
Why,
But a
it
shows signs
little
of disappearing!
Whoever
it.
sings,
medium
never sing as
many
exercises as do the
are naturally
No,
my
stiff er
office is
So many
you.
and
tire
no easy
more
one, I assure
my
why
easily.
often
earlier
day?
The young
too,
has
to
teacher's lot is
Next
time,
let
you
vocalises,
and not
all.
Bertha.
Yes;
am
then, I
famished condition.
despite
your
well-filled
inner
woman,
to
is
training of a voice.
that
were
compelled
vocalize
for
vocalises?
mit
Unfortunately,
As your
it.
voice
cannot per-
Now
for rosy
Rosa,
how-
is pliable,
wait
to
Shake
who always
tries
tempo imaginable.
Why! I am dumfounded! You have
quieted down. Excellent! You sing
your exercises in moderate time, and the
to sing in the quickest
You
tell
me
that the
mark
of four tones,
the
first
tone of a group
thus:
154
third,
and so
on,
You
will
difficulty
too
The above
to
secure
see
that,
will
exercise
be
is
with time,
smoothed
over.
pure intonation.
this
Later on,
difficult
passages
155
You will
is true.
was most
All this
and so effeminate!
for a singer, male
simple
scale.
distasteful
Now,
was
is
tions,
of
truth,
is
requisite,
nowadays,
then, colorature.
the
the
and that in
some measure of facility
object of song,
is difficult
grand air in
" Der Freischiitz
For
in
me,
or female, to sing
indispensable
it
to
is not,
as
it
title of
my composition.
when
shall give
you
further in-
structions.
Now
for
classmates,
attentively,
great
deal.
promise
you,
however,
'
'
Courage
PerseveranceWork
are to-day a
trifle
You
'
hoarse, so that
you
Bring your
concert-singer,
romances,
etc.,
sing your
airs,
songwS,
text.
First
French,
to
for
tongue,
this
with
its
to foreigners.
They cost no
you purchased
Tonkinese,
Persians,
there assembled,
dare
microbe.
Egyptians
confess it?
When
and
of
the menacing
is
fewer microbes.
THE NINTH
LESSON
YES,unpleasant
mind
sels,
all,
really very
listen to
and, above
it is
a teacher's coun-
public
life.
161
match.
girl's
Jeanne
that
name took
won
Just before the close of the entertainment, however, she discovered among
the auditors her former intended.
She
was unable
to sing,
and the
lis-
ment.
And
my
yet
One of
who afterwards became
another instance.
best pupils,
162
left,
ing was particularly sad; gloomy apprehensions filled her mind, but duty
required her presence at the opera-house,
the more imperatively because the singer
that took her place on special occasions
was
ailing.
pupil's
As Anna
name was
was the
returning homeward,
was
this
last.
Her
grief
her duties.
I
my
dear chil-
dren, so that
all
is
is
163
self to
ways
public
its
some way
existence, too,
and whoever
is
not al-
to the artist
or other
As
favor.
public
and woe
easily won,
that in
ed
The
life.
has
forfeit-
their
in
public
life
should
Be on your guard,
and
ignorant dilettanti, who proclaim you
"stars." Let the public and the critics
formulate their own judgment, and when
you achieve anything excellent, anything extraordinary, when you are wedded to art out of love for it and not merely
as a means of earning your bread, when
you have shown yourselves in its service
its high-priestesses, then will press and
especially, against so-called friends
But
was
sing but
who during
the last
little.
Nothing
164
is
more hurt-
all,
to the voice
an interruption
may
cause
natural
in
naturel).
(la
mezzo-so-
of the voice,
gruppetto,
and
the
lastly
trill.
You
Mendelssohn,
Lassen,
well.
Weber,
Rubinstein,
Brahms; the
Franz,
Schumann,
spiritual
165
Mozart,
and
songs of Bee-
mances
written
by Gounod,
Delibes,
you
lections
will
select
Airs
In these col-
numbers to
best suited, and
the
when your
intonation;
sumed, study
will
come
figures
your-
self familiar
occasional
muchmake
easier.
when
difficulties,
and,
to
As
for
this presents
mark
it
in
tion of
German
and so
is
all
obstacles
may
be finally overcome.
is to
and
most
stress upon the beauty of a few high
The main object of a performtones.
ance is the adequate communication of
the poetry through right declamation.
How
in
would
it
be
alphabetical order?
be Louison's turn.
is
if
It
would thus
Louison's progress
example,
and
Amneris
in "Ai'da,"
others,
must also
be learned in Italian.
singer
who
in fine,
must
own
character;
the
roles.
And now
for
blond
168
Bertha.
How
goes
it
seems
Quite
it
Strange
take
to
more
studies
their
lightly
than
The
perfection.
practice of staccati
is
very wearisome and must be undertaken very carefully, for on the attack
of each tone a slight coup de glotte must
be given; as for the
ornament
is
this
trill,
vocal
trill
such as Lucia,
undertaken.
for example,
The
trill,
as
cannot be
I
have
al-
the
young
its
mastery.
It is
historical
singer,
Mme.
for nine
yes,
fact
that
Pasta,
the
studied
renowned
the
trill
my vocalises,
Opus 2. Each
of these vocalises contains an elementary practice-piece such as a scale, an arfor yourself
a melodic form.
do not give you just yet a theme with
peggio, gruppetti,
I
variations, lest
etc.,
in
varia-
Purchase,
Don Giovanni''
words, make your-
difficulties,
when
170
fitly
knew a
express
her
emotions.
T s,
to give
abundant
talent,
to leave
Now
for
Mile. Marie,
my
inconsolable contralto,
who
is
so acutely envious
to study.
would have
clearer and,
on the contrary, the chest-tones bordering on the medium darker, so that the
tone color on the first notes of the medium
register
and the
more
homogeneous
suited to blending.
The passage
register
and
may
from register
be detected.
excellently.
be
to
vocalises
aria.
As
Show me
text.
sing
Good!
in
Begin.
time.
these
at present I
will
come
hereafter
your
soft, especially
those
1,
time,
correct intonation,
that, like
just
n, d,
t,
172
must be produced
such as mio,
lables
reo, etc.
tuo, suo,
must
must
In singing you
when pauses
neither,
occur, cut
mark
rhythm
than singers and song-
more
closely
stresses think
you may
it
necessary to do.
my
observe,
many
As
first,
piano,
forte,
rubato,
dando,
First
crescendo,
etc.,
sentiment,
style,
diminuendo,
tempo
ritar-
technique,
afterwards
173
aesthetics.
Do not
day, and
let
me add
the
in
tion:
my
forget all
teachings of
to-
declamation of Handel's
aria, the
Gluck's
air.
Now
how
for
this
Rosa.
young
everything in
inable
is,
of
It
is
extraordinary
sang
the quickest tempo imaga sudden, become calm
girl
who, at
and contemplative.
am
first,
really quite
er that
is
never
never to slumber,
If
the teacher
grows discouraged, the pupil's self-possession forsakes him; if he or she becomes easy-going and indifferent, the
pupil loses courage; if rough and unmannerly, the pupil's love for the teacher
vanishes, and with it his or her essential
esteem.
denial
is
of
self-
office,
no
To-day,
given
one,
my
me
am
sure,
will
deny.
pleasure,
the more so as
you would
prove somewhat troublesome. But I
will not lavish too much praise on you
every day is not Sunday. You sang
to-day the theme with variations very
neatly, and your pronunciation of the
Italian was correct.
Get the theme and
variations next time by heart, and bring
fancied that, in the future,
We
now hear
Valentine.
No,
away
shall
er tones the
lousness
defect
must
is
little,
for
You
your voice
my advice
175
a note
gins.
will
voice.
It is
so beautifully resonant
an
am
You consent? I
And now listen: a few
suggest.
delighted!
me for advice.
girl
came
to
As
is
Her
yours,
voice
my
dear Valentine.
her
promised
not to sing a bar before the opening
pleasantry,
dried
tears,
September 1st,
under my guidance.
THE TENTH
LESSON
MY
DEAR PUPILS As
I see
enthusiasm,
too,
is
waning,
have
in-
vited
you
Your
a five-o'clock tea.
On this occasion I can once more
give you good advice and, as you have
always wished me to do, rehearse some
of my experiences.
So sit down comfortably about the tea-table, and lend me
your ears.
The lasting, the only joy rewarding
my earnest artistic endeavor is your attachment, your love, your confidence.
all to
have
my
instruction
179
an
you
artistic
life, is
my
may
balmy
meadows, and shady woods bring you
as
direction,
many
fresh
air,
The
the
great
majority
of
learn.
not
gifted,
ambitious pupil
a teacher when
is
called
away
When you
write
The
possibilities
of
the
after effect,
Her
in that
had
opportunities,
the
concerts
at
hearing
the
two
in
Chatelet
orchestra
also
successive
Theatre,
of
it
the
of
Vienna
made my
heart leap.
The
tion
of
also director of
in
Vienna,
shading,
and
the Imperial Opera House
Herr Mahler,
did
conductor,
admirable
its precision,
its
work.
Its
rhythm, were
Every performer
is an artist.
I wept with joy like a
child, but kept down my tears on the
day following, when I had to struggle
marvellous
to
note.
and so
time division,
Then, indeed,
did I come down from heaven to earth.
I beseech you, my dear children, beat
time, and if the Creator had given you
ten hands, I should bid you beat time
expression,
on.
182
all,
my
Vienna chorus, of
day's enjoyment? Once again
say
third
What
of the
my
understand
ductor Kremser
enthusiasm.
Con-
the
warm-
is entitled to
admirable expression
their
performance:
solutely perfect.
all
of
the
singing-exami-
,P
X
1
&
1.
^'
V-vV'
hear
much
that
is
good in Brussels,
especially
that
is
which unfortunately
with
all
is
not
from abroad.
Can a
come
blind
case
the
to
man
me
be a
knew
intimately,
parted,
and
celebration
once
of the inception of
my
art life?
This
will
the
so.
my
memories, so that
do not forget some of my former friends
I will
I
de-
delve into
and that
ollections
cluster
how many
how
and during
outset
of
the. brightest
years
my career
me
who,
when I was a young girl and but a mere
dilettante, gave instruction in singing
Let
Nicola'i,
in Frankfort,
in Vienna.
ignorance,
themI
drove
to
think there
me, through
my
thoven,
and she
After the
selected
first
him
hour's
to teach
instruction
my
voice.
attack was
185
On
knew
several
and
teacher would
uncertain,
My
me.
One day he
forehead with
"My
that
lost pa-
young
dear
must confess
I will
make
you study songs, airs, and operas: instruct you in regard to intonation, pronunciation, and declamation, but of the
training of the voice,
repeat, I
know
was
ed to Mendelssohn-Bartholdy.
present-
Having
dilettante!
mean
sing
insignificant
in the
Rhenish
He
taught me
personally an air from Mozart's " Titus/'
Concert at Dusseldorf.
and several
of his songs,
had
name.
never
knew any
187
in
my memory
concerning Mendelssohn,
to sit
down
to dinner at midnight.
knew Meyerbeer,
but
frequently than
did Mendelssohn.
saw him
less
I
He made me
Meyerbeer's mother,
too, received
me with
My
memories
of
my
Let
I first
life.
me
met him
in
refer to
188
a few
of his
every day.
He
He was
on a chafing-dish.
me: "I do not care
self
He
often said
not good."
for
the
vocalises
received from
for
mezzo-soprano,
him a charming
and
letter,
189
most
flattering
terms,
complaining
already
All
my
dear
the artists
have referred
to,
pupils,
works.
He
visited
my
pupils,
and
other
several
was
my
director
Besides
man
an accomplished writer,
and a charming conversationalist. His
of the world,
190
and
no less so.
In Hiller's abode only was life and mental
Almost every Sunday mornactivity.
ing we called upon the master, whose
studio overlooked the Rhine.
He would
then play for us Beethoven and Mozart,
as also his own newest compositions,
and tell us of his visits to Beethoven
in Vienna, and to Goethe at Weimar.
tiresome, the residents
Ah! but
tant past
Hiller regretted
my departure
day
or night; yet
last
191
tell
you that he
whom
he bade
to
"Romeo
et Juliette/'
to
all
that
You know
as well as
that whenever
instrument.
After
192
the
master's
death
the
Like Mozart,
whose music he set above all other
works, Gounod passed away as he was
putting the last touches on his "Requiem."
forgiveness for his sins.
whom
He
but was so
students,
especially towards
liberal,
that
the
them.
into
death
saw him
have recognized
little
while
in Paris.
it
streamed
before
Who
his
would
193
man
where his
daughter, Cosima Wagner, has erected
a mausoleum.
Liszt
is
You
interred at Baireuth,
are
all
of
character,
whom
in
his
for
many
Conservatory.
could
Ambroise Thomas
was
friends
He
eighty-two or eighty-three.
How
Anton Rubinstein!
artistic
and
He was
decision.
this
nature.
in
life,
all
a simple,
affectation.
and
194
rare
he was to
me a
true friend.
engage me
He
often sought to
servatory, but
withstood his
Con-
entrea-
my
dreading for
resemblance to Beethoven.
But a short time has gone by since
Brahms was taken from his friends
over,
You
shall
of suffering.
you of my Jubilee
celebration?
December 12, 1899, was
the brightest day of my life, for I then
saw by the universal expression of
sympathy that the sincerity of my endeavor and work had full recognition.
I received, as I think I have already
mentioned to you, upward of four hundred letters and telegrams. The address
which the American ambassador, Gen-
What
eral
shall
Porter,
presented to
an occasion that
I
tell
will never
me crowned
be forgotten.
and Saint-Saens.
Massenet
my
Jubilee
celebration,
several
his
others
of
among
"Werther" but
compositions
a scene from
196
and
however,
Thanks and
lasting
gratitude to
the
great master
One word
before closing.
Should you,
deavor.
each of
a good opera - singer, a good concertsinger, or a good teacher.
I will have
no mediocrity; in our days mediocrity
is worse than useless.
Tell your friends
not to come to me unless they have
two full years to work; tell them to
197
Do
not sing
improve
yourselves
and do not
vacation
by reading good
go over the
text of your songs again and again, and
penetrate yourselves with their meaning.
A singer with a moderately good
voice, who has mastered the significance
of his words, will always have the advantage over the possessor of a much
finer instrument to whom they are a
books,
sealed message.
fail
to
to
May
THE END
By M.
E.
W.
SHERWOOD
AN
Photogravure
Portrait.
Crown
8vo, Cloth,
Orna-
America.
Book
of Etiquette.
16mo, Cloth, $1 25.
Mrs. Sherwood's admirable little volume differs from ordinary
works on the subject of etiquette chiefly in the two facts that it
is founded on its author's personal familiarity with the usages of
really good society, and that it is inspired by good sense and a
helpful spirit. There is nothing of pretence in it, nothing of that
weak worship of conventionality which gives the stamp of vulgarity to the greater part of what is written on this subject. N. T.
Commercial Advertiser.
A TRANSPLANTED
ROSE.
Story of
New York
Society.
New
Publishers
any part
price.
DATE DUE
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