Familiarity with the
traditions of different schools of composition and performance is necessary
also in order not to sing the songs of Bach and Handel like those of
Schubert and Schumann, or Brahms like the modern French composers; in order
not to interpret with like effects indiscriminately songs of the oratorio
and opera, of Italian, German, French, English and modern Russian schools.
Unquestionably the singer must have control of the physiological and
technical possibilities of his voice. No one can make words and music mean
anything while he is wondering what his voice may do next. Developed
intelligence, emotional richness and refinement, musical knowledge, a
properly placed voice capable of flexibility and color, distinct
articulation, polished diction, these are some of the preliminaries to
successful interpretation in song.
Let us see what special qualifications assist in the actual performance of
song, in the attempt to give pleasure or artistic gratification by singing
songs for others to hear. In the first place let us consider the
limitations as well as the advantages of the human voice. I must ask you to
remember that considered as an instrument it is smaller in power than some
instruments, shorter in range than many others, often less beautiful than
the tones of the violin. But in one respect it transcends all others. It is
capable of revealing the mind and soul of the one who plays upon it. The
speaking voice, as well as the voice in song, reveals thought and feeling
to the hearer; those subtler shades of meaning which distinguish man, made
in the image of God, from his humble companions, are made clear to those
about him by this instrument--this wonderful, persuasive, cajoling,
beseeching, enthralling, exciting, thrilling, terrifying instrument! Have
you not been moved by the tones of the speaking voice? How can we train the
voice in song to express these varying shades of meaning, and can we learn
to use them systematically instead of accidentally or when we are impelled
by strong emotion? I know that there is a popular impression that some
singers possess a mysterious quality known as "temperament," and that
others do not.
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