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TO MY PUPILS
STYLE IN SINGING
BY
W.E. HASLAM
NEW YORK: G. SCHIRMER
1911
Copyright, 1911
By G. SCHIRMER
22670
PREFATORY NOTE
“OF making many books there is no end.” Surely, the weary observationof the sage must have an especial application to the literature ofSong.
One could not number the books—anatomical, physiological,philosophical—on the Voice. A spacious library could easily befurnished with “Methods” of Singing.
Works treating of the laws governing the effective interpretation ofinstrumental music exist. Some of them, by acknowledged and competentauthorities, have thrown valuable light on a most important element ofmusical art. Had I not believed that a similar need existed inconnection with singing, this addition to vocal literature would nothave been written.
In a succeeding volume on “Lyric Declamation: Recitative, Song andBallad Singing,” will be discussed the practical application of thesebasic principles of Style to the vocal music of the German, French,Italian and other national schools.
W.E. HASLAM.
2, rue Maleville,
Parc Monceau, Paris,
July, 1911.
INTRODUCTION
IN listening to a Patti, a Kubelik, a Paderewski, the reflectivehearer is struck by the absolute sureness with which such artistsarouse certain sensations in their auditors. Moreover, subsequenthearings will reveal the fact that this sensation is aroused always inthe same place, and in the same manner. The beauty of the voice may betemporarily affected in the case of a singer, or an instrument of lessæsthetic tone-quality be used by the instrumentalist, but the resultis always the same.
What is the reason of this? Why do great artists always make the sameeffect and produce the same impression on their public? Why, forinstance, did the late Mme. Tietjens, when singing the followingpassage in Handel’s Messiah, always begin with very little voice ofa dulled quality, and gradually brighten its character as well asaugment its volume until she reached the high G♯ which is theculmination, not only of the musical phrase, but also of thetremendous announcement to which it is allied?
This last tone was delivered with the full force and brilliance of hermagnificent voice, and was prolonged until the thrill produced in thelistener became almost painful in its intensity. Again I ask, why didthis world-famous singer per