THE ARTIST AND THE GRAMOPHONE
Before leaving the subject of practising I should like to add a word as
to the value of the gramophone to the intelligent student. This is,
indeed, a truly invaluable adjunct. If to hear the greatest singers is
the finest of all experiences for the student, how can it indeed be
otherwise? For here in the most convenient manner possible is the means
provided for doing this. In the earlier pages of this volume I have
recorded what inestimable advantages I derived in my own case from the
constant hearing of fine singing from my earliest childhood. Now, by
means of the gramophone, the same advantage is at the command of every
one wheresoever he, or she, may happen to reside.
In my younger days only those dwelling in the great capitals could hope
to hear such artists as Patti, Tamagno, Caruso, Battistini, and so
forth, and even those only if means permitted, which was not often in
the case of poor students.
To-day any one can enjoy this priceless privilege, wherever he may
happen to reside, for a comparatively small outlay through the agency
of the gramophone.
And he can hear them not only now and again, but as often as ever he
likes and by his own fireside. If he happens to be studying some
particular rôle he can be “coached” in this most practical and
unrivalled manner by all the greatest artists of the day. He can take a
particular aria and hear it sung by Caruso again and again until he is
familiar with every detail of his rendering--can note his breathing, his
phrasing, and every other detail in a manner which would be quite
impossible by any other means.
And having heard Caruso he can then hear the same number sung by various
other great artists if he chooses, and benefit still more by comparing
their respective readings--by noting how they resemble one another or
how they differ, as the case may be, incidentally learning in the
process how widely one interpretation may differ from another and still
be of the highest order.
Not only this, but he can familiarise himself with entire operas in the
same way, for certain of the companies issue complete albums of the best
known works which are reproduced in their entirety--vocal parts,
orchestra, and all in this marvellous manner. One would think, indeed,
that the coming generation should provide us with fine singers in such
plenty as the world has never known before with the aid of such
priceless help.
Whether it will be so or not remains to be seen. But certainly it may be
said that never before have students been so wonderfully helped. I
myself have pleasure in testifying that I have derived the greatest
benefit as well as delight from the records of Patti, while Mr. John
McCormack has similarly acknowledged his indebtedness to the wonderful
renderings of Caruso.
And I hope in all modesty that students of the present generation may
derive similar help in turn from the records which I myself have made.
Beyond a doubt the gramophone should be the guide, philosopher, and
friend--the most trusted and most competent aid and coadjutor--not only
to every student, but also to every teacher of the present day.
Of course, the pupil is only human and often reluctant to believe that
there are grave faults in his voice. Whilst others can detect his
mistakes, the pupil cannot listen intelligently to his own faulty
emission while singing.
But take him to a recording-room and get him to sing into the
recording-horn, and let him listen as the operator tries over the record
he has made. He is sure to be surprised to find how many faults there
are.
His production may be throaty, nasal, or what you will. It is all
brought out clearly by the gramophone.
There is no instrument that is so calculated to remove the conceit from
a young artist as the gramophone. To watch his face as he first listens
to his own voice is usually to enjoy a miniature pantomime.
Nevertheless, the gramophone is a spur to drive the artist forward to
perfection, and, of course, a great aid to the music professor.