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.