Baritones often have a habit of emphasising wrong words, of which one of the best examples is “Trumpeter, what are you sounding now?” Another absurdity.
One could multiply these examples indefinitely.
Chapter XX
LANGUAGE
“ITALIAN is the easiest language to sing, then comes Russian, and I should put English next. All languages affect the tone, unless the tone is first able to carry the weight of the language. A singer may study in any language, but in only one until after the tone is placed beyond any possibility of being affected by the demands of the different languages.”
I am disposed to think that there is a good deal of truth in this. How serious is the influence exercised by the language used upon the quality of the tone produced is illustrated by German vocalism and American intonation. For here you have entire nations who, in the vocal sense, may be said to illustrate the evil effect upon tone of a harsh and nasal language.
German singing seems to be different, not merely in degree, but even in kind from that of other lands. In the case of even its best exponents there is a harshness and a tonelessness about it which differentiates it from that of any other race. German singers often have strong, lusty voices, likewise plenty of intelligence and dramatic feeling; but for beauty of tone and all the finer qualities of vocalism one listens for them in vain.
The fact is strange, but it can hardly be denied even by those least disposed to admit it. That one of the most musical nations in Europe should also be that of all others least dowered with the gift of song is a remarkable paradox which is not a little difficult to understand.
It is not a case of differences of taste. The point is that the German voice, as such, is indisputably inferior in point of quality to that of practically all the other European races. There is no discredit in the circumstance. It implies no reflection on anyone. It is merely an unfortunate physiological fact which must be accepted like any other of those decrees of Nature which are not to be gainsaid.
Such being the fact, how is it to be explained? Why is it that German singing is of this strange quality? How has it come about that so musical a race has been so shabbily treated by Nature in this important regard?
Various theories have been advanced. According to some the explanation is that it is the German language with its explosive consonants, harsh gutturals, and other unmelodious characteristics, which is at the bottom of the trouble.