PORTAMENTO
This is effected by the voice gliding from one tone to another, and is equally available on stringed instruments, the violin or "cello, the mandoline or zither. It is a grace of style much abused by inartistic singers. Being an ornament, good taste dictates that it be used sparingly. A frequent sliding from one tone to another is a grave fault, and most disagreeable to a cultivated ear. To sing _legato_ is one thing; to sing _strisciato_ is another. Hence, its use on two consecutive occasions is rarely admissible. But without a sober and discreet use of the _portamento_, the style of the singer appears stiff, angular--lacking, as it were, in graceful curves.
It must always be performed by carrying the tone and syllable to the next tone; never by antic.i.p.ating the latter:
[Music: Mozart (Nozze di Figaro)
Do Fa Deh vieni, non tardar,]
But it sometimes happens that, while desiring this grace, the composer does not indicate his wish quite correctly. Here is an instance by F.
Thome:
[Music: Et nous dansions un bolero.]
Were it performed as printed, it would be very bad style, as it violates the rule that the succeeding syllable shall not be antic.i.p.ated. Undoubtedly, what the author wished is the following:
[Music: Et nous dansions]
Sometimes the composer himself indicates clearly his intention that this effect should be used, as in the following examples:
[Music: Reyer (La Statue)
Pour s"evanouir, au reveil.]
[Music: Celeste Aida
(Aida: Act I)
Verdi
Del mio pensiero tu sei regina, tu di mia vita sei lo splendor.]
[Music: Song "Heure du Soir" for Tenor
Leo Delibes
Partout s"eleve un chant bien doux, un chant bien doux, Sous la brise toute embaumee.]
[Music: From "La Boheme," Act I
Puccini
Mi chiamano Mimi, ma il mio nome e Lucia.]
(Notice the phrases marked _a_ and _b_.)
The words and indications for the use of the _portamento_ in each of these last four examples are by the respective composers, and as printed in the published editions.
A _portamento_ should never be sung so slowly as to convey the idea of a badly executed chromatic scale; and, as a rule, it is best not to use one between any lesser interval than a third, unless for some particular effect, or at the close of a slow movement, as in the aria "He was despised," in _The Messiah_:
[Music: and acquainted with grief.]
It is also effective in connecting syllables in phrases of a smooth, lyric character:
[Music: Nozze di Figaro: Act II
Mozart
(as printed)
in braccio al idol mio.
(should be sung)
in braccio al idol mio.]
The _portamento_ being an embellishment that pertains to the _cantabile_, it is very little used in declamatory singing.
But frequently in the Recitatives of cla.s.sic works occur phrases of declamatory recitative, interspersed with pa.s.sages that are purely lyric in structure. To each of these divisions must be given its appropriate style. For instance, after the opening phrases of Obadiah"s exhortation, "Ye people, rend your hearts," in _Elijah_, up to the end of the phrase "Return to G.o.d," all is purely lyric declamation. But at the words, "For He is slow to anger, and merciful," this should cease, and the succeeding phrases be given with all the graces that are permissible in _cantabile_ singing; not in the hard, dry manner affected by some of the modern tenors in oratorio.
[Music: I therefore say to ye, Forsake your idols, return to G.o.d; for He is slow to anger, and merciful.]
VARIATIONS OF TEMPO
These are of value in bringing out the musical and poetic significance of certain compositions; notably the operas of Bellini, Donizetti, and the earlier works of Verdi. But I would caution singers to exercise discretion in this much-abused effect. Variations of Tempo, the _ritardando_, _accelerando_, and _tempo rubato_, are all legitimate aids demanded by Expression. But unless their use is determined by sound judgment and correct musicianly taste, the effect speedily becomes vulgar and monotonous. Knowledge, and a taste formed in good schools, must be the guide of the vocalist in the use of variations of tempo.
I have said that the operas of Bellini, Donizetti and Verdi abound in instances requiring the hastening or slackening of the tempo. But the device is also highly esteemed by the ultra-modern Italian school, as may be seen in studying the scores of Puccini, Mascagni and Leoncavallo.
Here is an ill.u.s.tration of its effective use in the air "Connais-tu le pays?" from _Mignon_ (Act II), by Ambroise Thomas. Madame Christine Nilsson (Countess Casa Miranda), who "pa.s.sed" the role with the composer, always sang the phrase thus, although these indications do not appear in the published version:
[Music: Helas! que ne puis-je te suivre, vers ce rivage heureux, d"ou le sort m"exila!]
Again, in the fine song _Der Asra_, by Rubinstein, the musical, as well as the dramatic, effect of the poem is heightened by the use of the _accelerando_, which interprets with musical vividness the impetuous avowal by the slave of his pa.s.sion for the princess, after his calm answer to her questions as to his name and birthplace.
"_Ich heisse Mahomet, ich bin aus Yemen, und mein Stamm sind jene Asra, welche sterben, wenn sie lieben._" (HEINE.)
[Music: und mein Stamm sind jene Asra, welche sterben, wenn sie lieben.]
CHAPTER IV
TRADITION
Tradition plays a more important part, perhaps, in the interpretation of the cla.s.sic composers" writings for the voice than it does in their purely instrumental works. The old masters left few--sometimes not any--indications as to the manner in which their music should be rendered. Thus its proper performance is largely determined by received oral tradition. The printed scores of the cla.s.sics, except those that have been specially edited, throw little light on their proper interpretation, or even at times on the actual notes to be sung. To perform exactly as written the operas of Gluck, notably _Armide_ and _Orphee_, the operas of Mozart, the Italian operas and English oratorios of Handel, the oratorios of Bach, Haydn, and Mendelssohn, would be to do the greatest injustice to these composers and their works.