The memoir on the human voice was duly reported on by Majendie, Savart, and Dutrochet at a public meeting which was held on April 12, 1841, the result being that this resolution was passed: "The thanks of the Academy are due to Professor Garcia for the skilful use which he has made of his opportunities as a teacher of singing to arrive at a satisfactory physical theory of the human voice." The circumstance gave occasion for a somewhat acrimonious discussion concerning certain points of priority as between Garcia and MM. Diday and Pétrequin, two French scientists.
This was followed up by the publication of the 'Method of Teaching Singing,' in which Garcia cleared up the confusion which had hitherto existed between "timbre" and "register."
He defined the expression "register" as being a series of consecutive homogeneous sounds produced by one mechanism, differing essentially from another series of sounds equally homogeneous produced by another mechanism, whatever modifications of "timbre" and of strength they may offer. "Each of the registers," he added, "has its own extent and sonority, which varies according to the sex of the individual and the nature of the organ."
At this time he stated that there were two registers; but in later years, with the invention of the laryngoscope and the examination of the vocal cords which resulted from it, he altered the original division from two to three—chest, medium, and head-voice,—and this is accepted by all as scientifically correct according to the definition of "register" laid down by him.
The year which found Manuel Garcia presenting his paper to the Académie des Sciences saw his sister Pauline married to Monsieur Viardot, by whom she had been engaged for her first season at the Paris Opera House. Almost immediately after the wedding her husband resigned his position, so as to accompany her on her tours through Italy, Spain, Germany, Russia, and England.
At Berlin, such was her success, that after her performance as Rahel in Halévy's "La Juive," she was serenaded by the whole orchestra. Here, too, she astonished all by volunteering at a moment's notice to sing the part of Isabelle in "Robert le Diable" in addition to her own of Alice, when the artiste who had been engaged for the former rôle was suddenly taken ill.
Her actual début in Germany was made at a State concert in Berlin,—an official ceremony, but still a private one. The first public appearance in the country was made at an evening concert at the Gewandhaus of Leipsic in 1843.
Pauline Viardot was twenty-two at the time. With a charming appearance, and already ablaze with the reflected glory of her sister, Maria Malibran, the débutante quickly roused the sympathetic curiosity of her audience to enthusiasm. The entire press praised her virtuosity, artistic feeling, and nobility of countenance, but above all they expressed admiration for her gift of revealing the innermost beauty of the grand musical works in which she lived and felt so profoundly.
They admired, too, that unique talent which wrapped every phrase in the exquisite charm and grace which she brought to bear. For that reason the bravura air of Persiani's "Inès de Castro," the final rondo from Rossini's "Cenerentola," and an unpublished air of Ch. de Bériot, earned for her at this first concert as much applause as the great air from Handel's "Rinaldo" and the lighter French, Spanish, and German songs which she sang in the same programme. These last three varieties of song she gave with a national colour so characteristic that, as one of the critics said, "Elles parurent chantées par trois voix et par trois âmes totalement différentes."
As was her usual custom, she accompanied herself on the piano to perfection. Clara Schumann, who took part in the concert, was dumfounded, and never forgot the occasion. Another musician who appeared that evening was a young violinist, an infant prodigy, twelve years old, who was to become in later years the great master, Joseph Joachim.