If the poem be
narrative, tell the story with life and vitality; if it be dramatic,
attempt to impersonate the characters concerned; if it be devotional,
recite with dignity and devotional quality. Finally, when both words and
music are well in the mind, if possible with an accompaniment, but
certainly standing, sing the song. Sing, making a compromise between the
strict rhythmical value of the notes and the demands of the sense of the
words. Keep the general outlines of the music so far as phrasing and rhythm
are concerned; but whenever a sacrifice must be made, sacrifice the musical
value and emphasize the emotion, the meaning, the poetry, the dramatic or
narrative significance of the words. Phrase with this end in view;
sacrifice anything except tone-production to this end. Do not distort the
rhythm, but bend it sufficiently to emphasize important words and
syllables, by holding them a little, at the expense of unimportant words or
syllables. Finally, remember that misguided enthusiasm is not
interpretation.
No real interpretation is possible without a full comprehension of the
meaning of both words and music. Study the voice. Study its possibilities
and its limitations. Study music until the musical element of difficulty is
reduced to a minimum, and until the character, style, and traditions of the
various song forms are well within your grasp. No matter how beautiful may
be the voice, or how well placed, no amount of enthusiasm or temperament
can atone for a meaningless or unintelligent treatment of the intellectual,
emotional, and musical characteristics of the song as a whole.
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