Style in Singing | Page 5

distinguished artist Victor Maurel has justly observed: "Of all the bad forms of teaching singing, that by imitation is the worst" (Un Probleme d'Art).
In singing, as in painting, a copy has never the value of the original. Moreover, slavish imitation in any art has a deleterious influence. But to respect irreproachable examples and fitly observe sound rules, whose very survival often justifies their existence and testifies to their value, is always of benefit to the artist. To imitate is to renounce one's individual expression of an ideal and present that of another. But to observe established and accepted laws, laws founded on Truth and consecrated by Time, is not to imitate, when those laws are applied in an original and individual manner that is in harmony with the personality of the interpreter. "L'art est un coin de Nature vu a travers un temperament." In literature, each writer has his own special style which may easily be recognized; but all follow the same grammatical rules. A correct style in singing consists in the careful observance of the principles of Technique; a perfect Diction; the appropriate Colouring of each sentiment expressed; attention to the musical and poetic Accents; judicious and effective Phrasing (whether musical or verbal), so that the meaning of both composer and poet may be placed in the clearest light.
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Let us analyze Style in its three principal aspects: Colour, Accent, and Phrasing.
COLOUR
Of all the elements of Style in singing, the most potent and effective--the one, indeed, that is essential for the success of the lyric artist--is the ability to vary the vocal timbre; that is, to sing with Colour. This desideratum of varied tone-colour is sought even by instrumentalists. Nay, the instrument itself is sometimes constructed with this object in view. Witness the invention of the "soft" pedal, which is intended not solely to reduce the intensity of tone in the pianoforte--that may be accomplished by a modification of force in striking the note--but to give the tones a darker, more sombre quality, or colour. To vary the tone-colour, a violinist or 'cellist draws the bow across the strings close to, or distant from, the bridge, in accordance with his desire for a reed-like or flute-like quality of tone. Anyone who has listened to the performance of the slow movement in Paganini's Concerto in D, by an Ysaye or a Mischa Elman, will have remarked how the skilful use of varied tone colour and other devices imparts a wonderful charm to music intrinsically of but mediocre value.
A singer may have a good quality of voice; but that is normal. If he can vary it only in degrees of loudness (Intensity) and not in differences of timbre (Colour) he cannot be ranked as an artist. No matter how great the natural beauty and sonority of his voice, his performance will always be monotonous, if he has only one tint on his vocal palette. In speech--from which the effect is borrowed--utterances of grave and serious meaning, and those of gayer import, are not made with the same colour of voice. A brighter quality (voix claire) is used instinctively for an ejaculation uttered by one to whom pleasant or joyful news has been communicated. On the contrary, should it be the cause of sorrow or grief for the listener, he will use--should he have occasion to reply--a darker quality of voice (voix sombre). Such phenomena are physiological. The vocal organs are the most sensitive of any in the human economy: they betray at once the mental condition of the individual. Joy is a great tonic, and acts on the vocal cords and mucous membrane as does an astringent; a brilliant and clear quality of voice is the result. Grief or Fear, on the other hand, being depressing emotions, lower the vitality, and the debilitating influence communicates to the voice a dull and sombre character.
On this question of colour in the voice, the masterly writer and critic Legouve says: "Certain particular gifts are necessary if the speech is to possess colour. The first of these is Metal in the voice. He who has it not will never shine as a colourist. The metal may be gold, silver or brass; each has its individual characteristic. A golden voice is the most brilliant; a silvery voice has the most charm; a brassy voice the most power. But one of the three characteristics is essential. A voice without metallic ring is like teeth without enamel; they may be sound and healthy, but they are not brilliant.... In speech there are several colours--a bright, ringing quality; one soft and veiled. The bright, strident hues of purple and gold in a picture may produce a masterpiece of gorgeous colouring; so, in a different manner, may the harmonious juxtaposition of greys, lilacs and browns on a