I verily believe that the reason why our language is looked down upon for singing in is because so many of our native singers do not know how to sing it properly. There are much harder sounds in the German language, for instance. Yet German songs are constantly sung by singers of every nationality. How often does one hear of English songs being sung in France, Germany or Italy by French, German, and Italian singers? Even when they give recitals over here their programmes seldom include an English song, and one is even more struck by so many of our own vocalists giving recitals at which often not a single song in English is included!
When English is properly sung, it is as easy to sing in, and as beautiful to listen to, as any other language, and if students were taught how to sing it, its popularity among singers would, I feel convinced, quickly spread.
I remember very well indeed singing on one occasion to Madame Marchesi in Paris. I boldly chose an English song, and upon coming to the end of it, was much pleased by the tribute Madame Marchesi paid to our language when she said to me, "English is beautiful when sung like that!"
It should emphatically be the first duty of a master to teach his pupils how to use their native language, and no other should be attempted till they can do this perfectly. The slipshod methods so frequently met with now would then soon disappear, and I am sure it would not be long before other countries began to appreciate the many beauties of the English language for singing in, and we should get more songs written by good composers to some of our beautiful English poetry.
Before I leave this question of the master there is one other point for me to touch upon. Although, when once they have mastered the singing of their own language, pupils should seek the Musical Atmosphere of the Continent, it must be remembered that there is one branch of music which is peculiarly our own, and which must accordingly be studied here. I refer to Oratorio. England is the home of Oratorio, and consequently this style of singing cannot be studied abroad. And for any singer who looks forward to entering the musical profession, careful study of this branch is absolutely indispensable. Oratorio is very popular here, and English audiences will not for a moment tolerate singers who fail to acquit themselves well when they undertake it; and as most professionals have to do Oratorio work at one time or another, care must be taken that the public are not given renderings which fail through lack of proper study and application.
Oratorio entails much study and research that is unnecessary where other branches of singing are concerned. Not only must the whole work be studied so that the singer may become acquainted with the full intention of the composer, but a special study must be made of the character which the singer is to perform, in order that all the feelings and emotions he or she would have felt in real life may be properly understood before an attempt is made to reproduce them. If the best results are to be achieved, the life, habits, failings, aims, and ambitions of the character to be interpreted must, as far as possible, be carefully studied and thought about, in order that the singer may better appreciate the situations which occur, and know how the character portrayed would have felt and acted in them. The Bible throws considerable light upon the life and character of most of the personages who have a place in Oratorio, and it is therefore useful, when studying some particular work, to examine carefully that portion of the Bible which may throw light upon the subject.
Lastly, we come to the song, and this is a question upon which I hold very decided views. The object of singers should be to give the greatest amount of pleasure to their audiences, as well as to use all that is best and highest in their art to inspire good thoughts, and raise the mental standard of their hearers. The larger proportion of every audience can only follow the words of the song in English. They can fully appreciate the beauty of the music, I admit, and for this reason every artist should have some of the most beautiful songs of other countries in his or her repertoire, but it is a lamentable fact that good translations are very rare. I like to choose as many songs as possible in English, so that their meaning and their message can be readily understood and appreciated by my audience.
I believe that it is within the power of an artist to actually lessen, or, at any rate, to temporarily relieve, the cares and worries of which each member of an audience has a share; and I am sure that the easiest way to do so is to sing songs whose meaning, and whose message, is immediately understandable.
In conclusion, I cannot insist too strongly upon the necessity for hard work and perseverance for those who are to succeed in the world of music. Too many people imagine that the "gift" is everything. But, indeed, this is not the case, for though the "gift" is, of course, indispensable, much application and hard work are necessary before it can be made use of to the best advantage. Given a voice and some dramatic instinct, there still remains careful and laborious training to be gone through before a singer can know how to sing a song and be able to put that knowledge into practice. The great thing is to be sincere, to be individual, and to grasp at the beginning of one's career the impossibility of pleasing everybody, and the necessity of being true to oneself, and if others see the truth differently, be deferential, and not servile, to their alien point of view.
THE GIFT OF SONG.