And still more honor to the German composers who have restored the true function of song. Everybody knows that in the popular songs, or folk songs, of all nations, including the Italian, the words are quite as important as the melody. It was only in the artificial songs of the Netherland school and the Italian opera composers that the voice was degraded to the function of a mere inarticulate instrument; and it remained for Wagner, following the precedence of Gluck, to restore it to its rank as the inseparable companion of poetry. And what led him to do this was not abstract reflection but artistic instinct and experience. He does not even claim the honor of having originated the true vocal style, but confesses with pride that it was a woman, Frau Schroeder-Devrient, who first revealed to him the highest possibilities of dramatic singing, and he boasts that he was the only one that learned this lesson of the great German singer, and developed the hints regarding the correct vocal style unconsciously given by her.
It must not be forgotten, however, that side by side with the music-drama and partly preceding it, another form of vocal music grew up in Germany, which in a very similar manner restored the voice to its true sphere as the wedded wife of poetry. I refer, of course, to the Lied, or parlor song, to which, indeed, I might have devoted this whole essay, quite as well as to the music-drama, if there were anything in Italian music that might have been compared to the songs of Schubert, Schumann, Franz, Brahms, Liszt, Rubinstein, etc.
As Sir George Grove poetically puts it, in Schubert's songs "the music changes with the words as a landscape does when the sun and clouds pass over it. And in this Schubert has anticipated Wagner, since the words in which he writes are as much the absolute basis of his songs as Wagner's librettos are of his operas." Liszt, too, notes somewhere that Schubert doubtless exerted an indirect influence on the development of the opera by means of the dramatic realism which characterizes the melody and accompaniment of his parlor songs (such as the "Erl King," the "Doppelgänger," etc.)—a realism which becomes still more pronounced in Schumann, Franz, and Liszt, in whose songs every word of the poem colors its bar of music with its special emotional tint, instead of merely serving, as in the old bel canto, as an artificial and meaningless scaffolding for the construction and execution of a melody.
This parallel evolution of the parlor song and the music-drama cannot be too strongly emphasized: for the same tendency being followed by so many of the greatest geniuses (some of whom are not Germans) affords cumulative evidence of the fact that the German style (which, as I have explained, includes all that is valuable in the Italian method) is the true vocal style, the style of the future, the style which cosmopolitan American art will have to adopt. I have been told that since the revival of German opera in New York, the Italian teachers in the city have lost many of their pupils. Obviously, if they wish to regain them they will have to adopt the best features of the German method, just as the Germans have adopted all that is good in the Italian method. It cannot be denied that the pupils turned out by the average vocal teachers are quite unable to sing a Franz or even a Schubert song correctly and with proper emotional expression. Now, it is evident, as Ehlert says, that "that art of singing which abides with the bel canto and is unable to sing Bach, Beethoven, and Schumann, has not attained to the height of their period. It becomes its task to adapt itself to these new circumstances, to renounce the comfortable solfeggios and acquire the poetic expression that they accept."
The famous tenor Vogl, a contemporary of Schubert, wrote in his diary the following significant words: "Nothing shows so plainly the want of a good school of singing as Schubert's songs. Otherwise, what an enormous and universal effect must have been produced throughout the world, wherever the German language is understood, by these truly divine inspirations, these utterances of a musical clairvoyance! How many would have comprehended, probably for the first time, the meaning of such expressions as 'Speech and Poetry in Music,' 'Words in Harmony,' 'ideas clothed in music,' etc., and would have learned that the finest poems of our greatest poets may be enhanced and even transcended when translated into musical language." It is humiliating to be obliged to confess that good schools of singing, the absence of which Vogl deplored, are still lamentably rare, although he himself, by his example, did much to develop the correct method. We have just seen how Wagner obtained valuable hints from Schroeder-Devrient. Similarly, we find that Schubert learned from his friend Vogl, who alone at first could sing his songs properly, and by showing that they could be sung encouraged Schubert in developing his original style.
It seems to me that these facts ought to be extremely gratifying and encouraging to students of vocal music, because they refute the notion that vocalists can only be interpretative and not creative, and their fame and influence, therefore, merely ephemeral. On the contrary, they can, like Vogl and Schroeder-Devrient, even aspire to guide composers and help to mark out new paths in art: which surely, ought to be more gratifying to their pride than the cheap applause which the sopranists and prima donnas of the bel canto period used to receive for the meaningless colorature arias which they compelled the enslaved composers to write, or manufactured for themselves. And there is another way in which singers of the new style can become creative. Chopin speaks in one of his letters of a violoncellist who played a certain poor piece so remarkably well that it actually appeared to be good music. Similarly, a good vocalist (like Fräulein Brandt, for instance, who is very clever in this respect) can put so much art and feeling into the weaker parts and episodes of songs and operas as to make them entertaining where they are naturally tiresome. When we bear in mind these high possibilities of singing, we must admit that there is no nobler profession than that of a conscientious vocalist—a profession without which some of the deepest feelings that stir the human soul would remain unknown to the world.