Every art reaches its apex of perfection, and then seems to decline; it may even temporarily disappear. But, being immortal, it is never lost. It finds other modes of manifestation, and reappears in other forms. The principles on which it is founded do not change; but constantly changing conditions necessitate a new application of these principles. This necessity was acknowledged for poetry itself by André Chénier:
“Sur des pensées nouveaux, faisons des vers antiques.” (Let us embody modern thoughts in classic verse.)
Music follows the great laws of development to which all things are subject. It would be foolish, nay, impossible, to try to resuscitate an old form of art. Foolish, because the art itself would have lost all except its archaic charm or interest; impossible, because conditions have so completely changed that the attempt would be merely the galvanizing of a corpse, not its reanimation.
Similarly, the art of singing can be successful only in proportion as it recognizes the existence of other conditions. These it meets by observing the old principles, but changing their mode of application.
The education of the singer of to-day requires to be conducted on broader and more comprehensive lines than in the past, on account of the different conditions which have presented themselves. Singing—that is, the alliance and utterance of Music and Poetry—is one of the highest manifestations of the Beautiful, and is man’s supreme and greatest creation. Therefore, singing will not seek in future to rival a mechanical instrument. It will, it is evident, give to the poetic idea a prominent, though not a predominant, place. But this poetic idea can be revealed to the listener only by a singer who is master of all the technical phases of his art. These component parts of his vocal education must of necessity comprise—as was laid down in the [opening chapter] of this work—Pose of Voice, Technique, Style, and Répertoire.
It has been demonstrated that the first of these elements is essential, because the other stones of the complete structure cannot be successfully laid on an insecure foundation. The singer must have the second, or he will be unable to materialize his concept, like an unskilled carver who possesses the necessary material and tools, but lacks the technical ability to utilize either. He must possess Colour, whereby his vocal palette is set with the varied tints necessary for the different sentiments to be expressed; Accent, so that character may be given to the music and appropriate emphasis to the text; and Phrasing, in order that he may punctuate the music effectively and the words intelligently.
Perfect master of these, he is in possession of all that goes to make up Style. And, if these premises be accepted, it must be evident that he is in possession of the qualities that were necessary to make singers great in the past, and are indispensable to make them great in the future.
FOOTNOTES
[1] These admirably expressed views illustrate and exemplify the principles I laid down in a conférence (Paris, 1902) on Voice-Production (Pose de la Voix), wherein I demonstrated the possibility of acquiring, by the aid of the resonating cavities, a greater sonority, more in conformity with the demands and necessities of present-day music.