Let any one go over this passage carefully, and he will be convinced that it is, as I have said, merely a sketch of the composer’s idea. As it stands in the published version it is impossible of execution, and if it were possible, would be devoid of all effect: the syllables being wrongly placed, no opportunity for breathing is given the singer, and the final cadenza is marred by being allotted to the word “amore.” Here is a revision of the latter, the cadenza being one I wrote for a pupil, Mme. Easton-Maclennan, of the Royal Opera, Berlin:
[[Listen]]
It will thus be seen, from the numerous foregoing examples, that these ornaments and interpolations are not added from a vulgar idea of correcting or improving the composer’s music, but are strictly in accordance with certain conventions thoroughly understood by both composer and singer. To omit them, or follow too closely the printed text, would be to ignore the epoch, school and character of the music; a careful study of which forms one of the cornerstones of Interpretation. A skilled artist will always strive to analyze and interpret the intentions of the author. If one to whom is confided the vocal part of a composer’s work were to limit himself to a mathematically correct reproduction of the written notes only, instead of searching below the surface for the author’s meaning, his performance would merely resemble the accurate execution of a solfeggio by a conscientious scholar. It would have the same relation to high artistic effort as the photographic reproduction of a landscape bears to the same scene as viewed and transmitted to canvas by a great painter.
The sincere artist will carefully consider every detail. He will not be content to study his own part only, but will study the orchestral score which accompanies it. He will, in fact, follow the example set by good string-quartet players, who listen attentively to the other instruments during rehearsals, so that the perfect welding together of the different parts may form a homogeneous whole. Such an artist, in complete possession of the mechanical resources of his art, will utilize them all to embody perfectly that which, with the composer, existed only as a mental concept, inadequately transcribed, owing to the limitations of his media—pen, ink and paper.
And it is only when in possession of the authentic traditions of Oratorio and Opera that the singer, such as I have supposed, will be able to vivify these great creations, will be able to invest them with warmth and colour, and thus make clear all their meaning, reveal all their beauty.
CHAPTER V
Répertoire
ALTHOUGH répertoire forms no integral part of Style, being rather the medium for its practical application, a few words on this important subject may not be out of place. The répertoire necessary for a singer may be divided into two sections, Opera and Concert. The latter includes Oratorio and Cantata.