Sixty Years of California Song Part 16

CHAPTER TWENTY

WHAT I KNOW OF THE VOICE AND OF TEACHING

In taking up this subject, it is not my purpose to give lessons in voice culture on paper. There is, of course, but one way to sing and that is the right way. Every teacher thinks his is the right one. This can be proven only by the result upon the pupil. Does every teacher understand the training of the voice and can he impart his knowledge to the pupil and enable him to acquire a perfect mastery over the tone production and management of sound in singing with this invisible instrument? Can he surmount the technical difficulties and the mechanism of the vocal organs? The inner consciousness is the only safe guide for teacher and student.

The strictest attention should be directed in the beginning by all students to the exercise of forethought, deliberation and mental energy, attributes which are of the greatest importance, more so perhaps than physical strength. A conscientious singer is rewarded after arduous work by gaining the power of emotional expression which the human voice possesses beyond any other musical medium. There are two distinct branches used in the study of the voice--the technical and esthetic. The mechanism and healthy production of the voice and its development belong to the first work. Taste and feeling and a sympathetic and sensitive nature, combined with a cultivated musical organization, a poetic temperament and a pleasing personality, with magnetic fire capable of holding listeners enthralled, are of the other work.

In my long career in song I have especially noted the appearance of a singer. My first impressions have usually remained. In justice to the fine contralto, Schumann-Heink, I will relate my first impressions of her in song. Mr. L. Sherman of Sherman & Clay sent me, to my great delight, two tickets for the opera of "Lohengrin." I had never heard the opera nor the singer. When I heard her sing her role, her first notes so astonished me I just held my breath, I could not realize the voice of a woman, she sang like a baritone. The opera was given in German, and I thought I never heard such a masculine voice in my life, and the whole opera was spoiled by her number for me, and the impression was so lasting that nothing could induce me to hear her again after that opera. I could not bear to think of such a man's voice in a woman. This was when Mapelson was here in 1884. I never heard her again until 1908 at Ye Liberty. Everybody had lauded her all these years, and I never expressed my opinion but held to my impressions on my first hearing of her work. At last I asked myself, why should all these musical people call her great and praise her tone productions as being so perfect, and I stand alone in my opinion. I resolved, if she ever came again, to hear and see if the fault lay with me. The opportunity was granted me in 1908 and, engaging a box in the gallery, I took two pupils with me to hear the great singer and accord her justice if I had erred. I beheld a wholesome looking woman, but not beautiful. She was gowned in a stylish robe of rich material, and on her head a white lace hat with soft white plumes which lent a charm and softened her otherwise angular features. If I had received a shock at her first appearance, I certainly was the most surprised woman in the audience when she began her group of songs. Her first notes convinced me that she had changed her methods completely since singing in opera. She had found that singing in concert and singing the heavy work of Wagner were two distinct methods, and to succeed she had chosen the Bel Canto and forsaken Wagner. I never heard a more beautiful lullaby than she sang, with all tenderness and mother love running throughout her lines. Her German songs were also charming and well phrased and the interpretation perfect. Knowing the German language myself, I was able to appreciate and understand her rendering of them. It was only once she gave one or two of those former bellowing notes, and as quickly as she had uttered them she changed to the touchful notes that were more pleasing. I fully enjoyed the concert as much as I had disliked the opera which I heard in 1884 and which had left such an ugly impression. It is with the greatest pleasure that I also add my best appreciation of Schumann-Heink's singing, for she now sings just as an artist should who understands the art of singing, correctly, naturally, easily and comfortably.

To gain the height of vocal art is to have no apparent method, but to sing with perfect facility from one end of the voice to the other, emitting all the notes clearly and yet with power; to have each note of the scale sound the same in quality and tonal beauty as the ones before and after. This is the highest art and a lifetime of work and study are necessary to acquire an easy emission of tone. One must have a complete understanding of anatomical structure of the throat, mouth and face, with their resonant cavities which are most necessary for the proper production of voice. The whole breathing apparatus must be understood because the whole foundation of singing is breathing and control of all the functions which compose the musical instrument. A singer's reliance depends upon the breath, as on the stability to economize the air during its emission from the lungs. Steadiness, strength, flexibility and sustaining power of the voice depend upon this knowledge and intelligent use of it. I hold the art of singing in such reverence that I feel I am walking upon sacred ground when I am employed in the teaching of the human voice. It is notoriously difficult to give rules for singing to every one alike. I have found out in my long experience of development of different voices under my guidance that no two persons can be taught alike. As faces and people differ, so do also the voices. There are general rules to be observed that all can understand, but outside of that, teaching of the voice becomes an individual study of every conscientious and capable teacher. No one should attempt it unless he understands perfectly the anatomy of the muscles that are used and compose the vocal apparatus, their placement and uses. Instructors should be perfect singers themselves and able to give an example of every tone as accurately as it can be produced by the human voice. A teacher who cannot produce a perfect tone has not the right to teach. Why should the proper training of the voice continue to be the least progressive of all professions, and why should there be less care and work used in the development of the most beautiful gift that has been given to mankind, the human voice? While this gift has not been equally bestowed on every one, yet there is not a being who could not sing if he were properly taught. It is not the great-voiced singer that gives the most beautiful song. While he is to be admired for his grand tones and magnificent work, it has taken years of technique to produce those tones through perfect knowledge of breath control.

Teachers of the eighteenth century required many years of hard study from the pupils before they were considered competent to ill.u.s.trate the art of tone production and before the masters considered them singers or sent them forth as exponents of their art. Why all this work to acquire the art of producing beautiful tones? We must use intelligent understanding in the use of this instrument which is such a rare gift to us. Thrice happy are those who are able to give to listening humanity the full comprehensive and soulful touch of song which the individual instrument is capable of producing. There is so much more in singing than the mere possession of a beautiful voice.

The singer must be able to supplement the beauty of the voice with intelligence in the exposition of the song. But few realize how much skill this demands. No amount of intelligence will enable a person rightly to interpret a song if he has not learned the elements of singing or has not a complete command of the technique of his art. The most important element of beautiful song is the lung capacity, and thereon hangs the whole success; control of the breathing muscles. One has infinite gradations of the power of this column of air to produce the result in exquisite variations over the power and the coloring of his tones. Attack and management of the air column is an art in itself--a correct poise of the larynx. Upon the art of directing this column of air the quality of the tones depends. The greatest marvel is that those whom I have had to instruct do not know the first elements of breathing. To breathe to live and to breathe to be a singer are as far apart as the poles. Not one in twenty knows what lung capacity they have. The general rule is to breathe through the nose. That is all right if he is a gymnast or a ball player, but singing is just the opposite of this sort of breathing. Everything is relaxed and natural, the breath is inhaled through partly opened lips, slowly, evenly and quietly and allows not a particle to go through the nostrils until the lungs are completely filled and inflated. The large cells are in the lower part of the lungs, and when they are inflated and the diaphragm properly used so as to direct and control this column, one can sing as long as there is a particle of air to use. For seventy years I have used this method of breathing, and I am a perfect example of the preservation of the voice now in my seventy-sixth year, and have every note I ever used and can sing with as much power and breath control as I ever could. I feel no weakness or lack of strength in any part of my tone production.

I taught every pupil in this way and cured many of the tremolo habit by showing them how to breathe properly and then use this art intelligently. The art of breathing is not alone the thing to understand. There are many other points of importance to remember, but the art of breathing is the fundamental stone that has to be well grounded to secure the lasting success of the conscientious and intelligent student. Each person must feel the action of the different parts that go to make up the vocal instrument, which strengthens my a.s.sertion that each individual must have his own separate instruction as he possesses the charm of his own personality and musical temperament. Many students may have complete knowledge of how it should be done, and yet in the performance they do just the opposite, from a feeling of self-consciousness and the fear of being ridiculed in their efforts to sing. The mind must first recognize, then control, until automatic action is established and there is no danger of self-consciousness. One must learn the elements of singing--no amount of intelligence will enable a person rightly to interpret a song if he has not first learned that department thoroughly. For in order to offer an interpretation to an audience, the singer must have a complete command of the technique of his art. The singers of today are not so skillful as they were in the eighteenth century, because they are not patient enough to study the essential tone production which must be produced to make tones that are satisfying to themselves and also to the sensitive and cultivated ears of the listeners. A singer must reject any unmusical sound and, above all things, rule out any departure from the pitch. Singing out of tune is not singing at all.

They can never be relied upon and are therefore unsatisfactory for any use at all. It seems simple enough to sing, yet to get the correct, pure tone one must work daily to accomplish perfection. There are many singers who attain a certain amount of distinction on the operatic stage that cannot produce a full, round, sympathetic tone. They may have powerful tones and astonish the public, yet in a short season the tones become dull or heavy or sharp, ear-splitting and their victorious career is finished and oblivion mercifully covers them.

CHAPTER TWENTY-ONE

TREMOLO

In writing about one of the greatest faults in the teaching of vocal music I wish to put my most emphatic criticism upon the Tremolo in the voice and condemnation upon those who vitiate the human voice with the most intolerable fault that any one who pretends to sing could practice. In "The Musician" of November, 1908, there was an article upon this subject, which I read with profound interest and I wrote to Ditson & Co. to allow me the privilege of using the article as it was just the very thing that the student who was learning to use the voice ought to read. I was happily granted permission. The article ent.i.tled "The Singers tremolo and vibrato--their origin and musical value," was written by Lester S. b.u.t.ter, who says:

"In April, 1795, in Romano, Province of Bergano, was born Rubini, King of tenors. His voice, small in the beginning, developed marvelously in tone volume and the swell and diminish of tones (messa di voce) called by the Italians 'vibrato of the voice' was the characteristic of his style.

"This ebbing and flowing undulating wave of sound upon sustained notes was the source from which sprung the modern tremolo and vibrato, which is so much in evidence among singers and so offensive to all really refined musical taste. There seems to be considerable confusion among singers and even writers as to the use and meaning of tremolo and vibrato. These terms seem to be used synonymously and the latter is used where messa di voce is meant. The Standard dictionary defines vibrato as a trembling of pulsating effect in vocal music caused by rapid variation or emphasis of the same tone (evidently messa di voce) proper distinguished from tremolo, where there is a vibration of tones; and the latter is a vibrating beating or throbbing sound produced by the voice or instrumentally.

[Ill.u.s.tration: MRS. BLAKE-ALVERSON AND HER TWO SONS

Wm. Ellery Blake

Geo. Lincoln Blake]

"Ferdinand Sieber, in answer to questions 286 and 287, Art of Singing, says: 'Question 286. How should the longer sung notes be taught? Here the rule should be enforced that every radical note should be accompanied with a swelling of the tone where it is intended to sing the following ones in crescendo, and on the other hand, the strength of tone diminishes when these notes are to be sung decrescendo. If there is a pause, a messa di voce should be executed.'

"'Question 287. Is not then this constant vibration of the voice a gross fault? It causes great confusion in regard to the expression among singers of different degrees of ability. We read daily that it is reprehensible in this or that singer to indulge in this vibration, while in reality it is the tremolando which is blamed. The vibration of the voice is its inmost life-throb--its pulse--its spring. Without it there is only monotony. But if the vibration is changed to tremolando the singer falls into an intolerable fault which is warranted only in very rare cases when it serves as a means to express the very highest degree of excitement.'

"W.J. Henderson in the Art of the Singer, says of messa di voce, 'It is by the emission of tones swelling and diminis.h.i.+ng that we impart to song that wave-like undulation which gives it vitality and tonal vivacity.' But when speaking of the rendition of Handelian arias, he evidently uses the term vibrato in the same sense as Sieber does tremolando. He declares it probably hopeless to plead for the abolition of the cheap and vulgar vibrato in the delivery of these old arias, remarking further that there is no account of its use in the writings of the contemporaries of Caffarelli and Farinelli and that master singers of their day were praised for the steadiness of their tones and the perfect smoothness of their style. He a.s.serts also that vibrato is a trick invented after that day and out of place in the music of that period.

"Referring to Rubini, the originator of the fault, he leaves the impression that this singer used the vibrato only occasionally (which may at first have been the fact) and that as a means of heightening the dramatic effect. Grove, however, puts the matter somewhat differently. 'Rubini,' he says, 'was the earliest to use the thrill of the voice known as vibrato (the subsequent abuse of which we are all familiar) at first as a means of emotional effect, afterward it was to conceal the deterioration of the organ.'

"Imitators brought great discredit upon Rubini and his name is a.s.sociated with an impure, corrupt vocalization. This with other influences, brought about a sentiment in composers as well as singers favoring vocal declamation, rather than singing in the sense in which that word was understood by the great tenor. In 1852 there was a cloud of imitators and it became so prevalent almost all singers of the day indulged in it.

"Ferri, a baritone who sang at La Scala in 1853, made such effective use of it upon any note as to secure a place in the records of that day as one whose whole song was a bad 'wobble.'

"Even the great Mario, whose voice is described as 'rich Devons.h.i.+re cream,' was afflicted, but usually free from the vice. Clara Novello was greatly admired because she indulged in it with such discrimination, and Campanini, entirely free from the fault, was greeted with enthusiastic pleasure whenever he appeared. (The present writer heard Campanini in 1858, and he was one of the grandest man singers I ever heard. Stigelli was also one of the same style of singers at that time and I heard them both in grand opera and there was never a tremolo in either of their voices but perfect art in messa di voce, Bel Canto singing.) Another reference to Mr. Henderson will show that the weed still flourishes. Almost every singer of today tries from the beginning to acquire an habitual vibrato, (the present writer infers that Mr. Henderson does not use 'vibrato' with the Italian meaning messa di voce) to be used at all times without regard to fitness. Some of our singers have cultivated the trick, they have developed it into a perpetual tremolo. He thinks it would be interesting to know what Porpora, or Fedi, would have thought of a twentieth century tremolo, especially when introduced in an aria by Carissimi.

"It seems that the tremolo came into general use as an imitation of the so-called 'musical sob' of Rubini, which he used to express certain phases of emotion and excitement, and then it was cultivated by those whose tastes were lowered or having a desire to acquire more power than their organ was capable of safely obtaining or to conceal under the claim of artistic and real expression, the decay of their singing voice.

"Emma Seiler (voice in singing) has this to say: 'Unhappily our whole music is vitiated by this sickly sentimentalism, the perfect horror of every person of cultivated taste. This sickly sentimental style has also naturalized in singing a gross trick unfortunately very prevalent, the tremolo of the notes.' In a letter to Dr. S.B. Matthews (Music 1900), L.G. Gottschalk so succinctly gives his opinion as to leave no doubt as to his position on the subject: 'Tremolo of the voice is the result of either of the three following causes--diseased vocal organs, old age, or defective breathing, and as such has no excuse for its existence.' This is in agreement with Madam Marchesi in answer to a question in regard to the tremolo. 'The continued vibrato is the worst defect in singing and is a certain sign that a voice has been forced and spoiled. It is the result of the relaxation of the exterior muscles of the larynx which can no longer remain motionless in the position during the emission of the sound. This distressing permanent vibrato proceeds from ignorance or neglect of the register limits.' W.H. Blare gives the warning, 'Do not allow the voice to wobble, or become tremulous. A tremor is dangerous under any circ.u.mstances and an ineffectual subst.i.tute for sustained, pathetic tone color.' Sir Morrell Mackenzie, M.D., a.s.serts that tremolo is injurious, as tending to beget a depraved habit of singing. It is the worst fault of a singer.

"In Kofler (art of breathing) he speaks of the tremolo: 'As to the tremolo in the voice, I will only say that frequently the air is expelled forcibly in order to picture with the voice a violent outburst of pa.s.sion and emotion, a light tremolo will produce a good effect to give expression to a feeling of fear, anxiety, or anguish; outside of this, the tremolo must never be used in singing. This is often done to hide a worn-out voice, but more often because the singer is under a foolish delusion that this tremolo is very expressive and dramatic. I know of no style of singing so unnatural as a perpetual tremolando brought on by injudicious training and the ignorance of the art of breathing correctly.'"

I consider that I would be derelict in my duty as a teacher of voice did I not insert this most important chapter in my book. I am glad to have the best authorities on my side of the subject. I think it is the true reason why we have such a dearth of fine singers in this generation. It certainly is not because we have not the voices.

California can produce as fine voices as are found in Italy, but as fast as they are found some unscrupulous fake comes along and finds the unfortunate victim who begins training and in a few months the papers are full of this wonderful find and future songstress. Then a recital is planned and the beautiful young woman (if appearance has any value) certainly fills all that has been noised about her. Endowed by nature with a voice of unusual power and expressiveness she is a most promising amateur and will perhaps be heard from in the future.

At least she will be if native gifts count. At last the opportunity has arrived to hear this young singer of a few short months' training in a group of songs. Our expectations are at the highest pitch as she appears in all her youthful charms. But alas, how quickly is the spell broken. This wonderful singer has fallen into the hands of an incompetent teacher and the beautiful voice has been damaged until the tremolo is unbearable and we listen with pity at the havoc made in a few months of force upon the beautiful voice by such teaching. There never was an age when so many singing pupils are being taught, and yet we have no singers. Pupils do not apply themselves seriously to the real study of the voice as they do to other studies. To sing a song is all they aspire to do. They consider it all useless nonsense to practice technic. They want the glory without the conscientious work which is a daily requirement. Very few singers of today are provided with real vocal technic. They learn to scream one note at a time. A short life and a merry one, great glory and great salaries, sacrificing their voices at the demand for big tone. Perhaps they rejoice in a brief season. Afterwards their names are forgotten. Good singing, as all other performances, consists in the due adjustment of every factor connected with it.

[Ill.u.s.tration:

Frederick Zech Henry Wetherbee Adolph Klose S. Arrillaga William P. Melvin John W. Metcalf Wm. M'F. Greer

a.s.sOCIATED MUSICIANS AND SINGERS

1854-1900]

I had my first experience in 1894 with the voice of a young girl that had a perpetual tremolo. I was thoroughly amazed at the unsteady wavering of each note. At last I asked her why she did not sing in a steady tone. Her reply was she could not help it. I then inquired if she had former instructions. She replied she had. After trying in vain to get a pure tone, I told her I'd rather not teach her as I had no knowledge of how to relieve her of this defect which could not be allowed in a perfect singer. Her disappointment was so great as to cause her to weep. My heart was touched for her misfortune and I told her I had only one remedy and if she would try that I'd undertake the work of restoring her voice to its normal state if possible. This was Tuesday. I asked her to return on Friday and if I saw any improvement I'd teach her if she would obey orders. I gave her a lesson in the art of breathing, something which had been entirely neglected before, and sent her away. On the following Friday she took her second lesson, and the voice was as steady as if she had never done the other work. I continued to teach her for two and a half years and at my first recital she and I sang the duet, Qui est h.o.m.o, from Rossini's Stabat Mater, and although my age was sixty and hers twenty, I was able to use my usual strength in singing the song as if she had been a mature singer. At the close of the number we were greeted with bravos and applause that lasted for some time. It was the crowning reward for my weeks of patient training and careful watchfulness. I never taught her after that evening and I heard she had several other instructors. I heard, however, that she had never returned to the tremolo after I had once placed her voice in the right path. Had she been a student I think the state of California would have been proud to have claimed her, but she lacked stability in her work. She still sings but I have not heard her for years. This was my first experience.

In the year 1907 I cured twenty-five young people, both girls and boys, of this dreadful habit, which seems to be the death knell of all of our California young singers. Every one of these became addicted to this habit through wrong instruction by persons who were not teachers at all in the true sense of the word, not knowing the construction of the voice themselves so as to lead the pupil into the proper channel, having lost their own voices by these methods they were not competent to instruct others. How is it possible for them to guide the young singer when they cannot give a pure tone example themselves for the pupil to follow? Freshness and steadiness are the most valuable properties of a voice, but are also the most delicate and easily injured and quickly lost. When once really impaired they can never be restored. This is the condition of a voice which is said to be lost.

The prostration of the vocal organs are thus brought on by injudicious training if not the result of organic disease. This must be understood by the competent teacher who should not be mistaken in the nature of the organ or attempt by obstinate perseverance to convert a low voice into a high one, or vice versa. The error is equally disastrous, the result being utterly to destroy the voice. The teacher's vocation is first to find the natural limits of the voice in question and then seek to develop them into their most beautiful tone production before attempting to develop either higher or lower tones until these have been properly understood by both teacher and pupil. The pupil should also at once comprehend the importance of guarding the voice from injury and not transform or extend his gifts beyond their natural power and capability. The voice is often seriously impaired in using the high notes in both chest and head registers, by forcing of the high notes, and exaggerating the timbres and, if often renewed, will eventually destroy the best voice and the tremolo follows in consequence and the once promising voice is lost and forever inevitably destroyed.

CHAPTER TWENTY-TWO

MORE ABOUT THE VOICE

"There is little difference in the place we fill in life: The important thing is how to fill it."

This maxim applies also to the art of singing. There are singers and singers, but few become artists. Thousands upon thousands of dollars are spent upon them in America yearly. How many of these thousands of dollars come back to these students? It is a rare occurrence if we get one in ten thousand that really reaches this distinction in art, a just reward for long years of patient study. When such an artist does appear it is like a new star in the firmament, the wonder of the age.

The beauty and glory of this wonderful singer is not hidden under a bushel, but the people of the earth flock to hear and see this rara avis. The regret is that such a singer can not sing on forever. It is strange that the human mind can retain the memory of song with such distinctness and acuteness in the different singers and remember the very songs they sang and how and where. When this can be done the singer can well feel that his work has made a lasting impression.

Nothing less than the best will satisfy a lover of good music after having enjoyed the best at the beginning.

We are often annoyed when we hear foreigners say, "Oh, we have it better in Europe." There must be a reason for it, and it is not the lack of voices in America, for we have given many fine voices, including the only prima donnas who have risen to the height of distinction in our day. We are foremost in producing fine singers today as well as in the past years, both men and women, who are acknowledged by all to be the brightest stars in the musical firmament. Really fine artists have a charm that is recognized by all.

They are in a cla.s.s by themselves and admirers feel honored to know them or speak with them for a short while. It is a remembrance we go back to with pleasure every time we hear the name spoken. Not one of our generation ever saw one of the great composers like Liszt, Verdi, Gounod, Wagner, etc. Yet there is not a musical person on this earth but claims an acquaintances.h.i.+p and comrades.h.i.+p with them and they are only known by their pictures and what has been written or spoken about them. We reverence them for their splendid work. It is the same with men and women singers--their faces are as familiar as though they were among us today. It is true we still have Nordica, Melba, Schumann-Heink, Calve, Eames, de Reszke, Adams, Sembrich and Terina, but their stars have gained their heights, and we must expect to see them dim and wane, but before they are entirely gone let us hope there will be others as good to take their places. While all students cannot be such artists they can strive for the best under good instruction and develop their instrument as near perfection as it is possible to bring it.

In my concert tour to Victoria, B.C., an incident occurred after the concert given at Olympia. It was my first trip and everything was new to me. I supposed I was a stranger to all and was to be heard in these places for the first time. We had sung at all the small towns along the Puget Sound and this was our last city before we returned. Our company was a good one--Walter C. Campbell, Vivian the Great, Margaret Blake, Mr. Wand, pianist, d.i.c.k Kohler, cornetist and leader of the company, and Mr. Atkins, advance agent. A very successful concert had been given and a fine audience appreciated us. A number of distinguished guests were present, including the governor of the state and officials of the city of Olympia. While I was preparing to go to my hotel, I was recalled by Mr. Kohler saying I was wanted by some friends in the hall who wished to speak to me. Imagine my surprise.

Twenty-five ladies and gentlemen were awaiting me and I had never seen one of them before to my knowledge, but evidently I was no stranger to them. They were people who had repeatedly heard me sing from 1865 to 1874 in San Francisco and they were so pleased to hear me again they concluded to know me. My curiosity was aroused so I asked them when and where had they heard me. Some at Platt's hall, others at Howard Methodist church, Y.M.C.A. on Sutter street, Union hall, Mission street, Metropolitan temple, Fifth street, etc. I then asked them what songs I sang. Mr. Kohler jotted down the songs as they were given by the different ones, and they came out in this wise: three remembered Annie Laurie, four When the Tide Comes In, three Gatty's Fair Dove, two Kathleen Mavourneen, two John Anderson, My Joe, two Within a Mile of Edinborough, etc., two The Old Man's Song to His Wife, two Home, Sweet Home, five Last Rose of Summer, two Darby and Joan.