Conclusion
An artist can be formed only by his own intelligence and practice, under the direct guidance of a master. But here, more than in any other art, the constant watchfulness of a teacher is a necessity. For, as one gets only an imperfect idea of his own personal appearance from a mirror, so the singer and dramatic artist can form but a partial judgment of his own performances. They are too subjective, and cannot be viewed as an external whole, like the works of the painter and sculptor. It is, moreover, as has already been remarked, simply impossible to obtain even a partial knowledge of any art from books alone, even if we were able to describe with precision the fine, delicate differences of tones, colors and forms.
These pages, therefore, make no claim whatever to be regarded as a manual of singing. They aim only to communicate and extend a knowledge of the latest discoveries and advances in the domain of vocal art, and to protest against and correct prevailing prejudices and errors in regard to this art, as well as to engage the attention of those to whose care the culture of the voice is entrusted.
18 The friends of this style of music (programme music so called) appeal to the authority of Beethoven, who, it is claimed, opened the way for it when he introduced into his Pastoral Symphony interlineations which should suggest the right sentiment to the hearer. But, although Beethoven allowed himself to approach the uttermost limits in this direction, he never overstepped them. It was only in his Pastoral Symphony that he introduced these interlineations, and they do not entirely contradict the peculiar character of the music, as so many of our modern programmes do.
Programme To Beethoven’s Pastoral Symphony, December 22, 1808.
Agreeable sensations upon visiting the country.
Scene at a brook’s side.
Merry gathering of country people.
Thunder and storm.
Happy and grateful emotions after the storm.
More emotional than descriptive.
Expression rather than representation of feeling.
Programme To a Prize Symphony, by Joachim Raff, performed in Vienna, 1863.
D major. Allegro. Portrait of the German character,—its capability of elevation, proneness to Reflection, Gentleness and Valor, as contrasts that blend with and permeate one another in manifold ways—overpowering proneness to meditation.
D minor. Allegro molto vivace. In the open air, in the German grove, with the sound of horns, Away to the fields, with the songs of the people.
D major. Larghetto. Gathering round the domestic hearth, transfigured by love and the Muses.
G minor. Allegro-dramatico. Ineffectual struggle to establish the unity of the fatherland.
D minor. Lament. D major. Allegro trionfale. Opening of a new and elevated era.
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19 Although our recitative is formed after the recitative of the ancient drama, yet the latter, according to all accounts, appears to have been very different from our opera recitative, and to have had greater resemblance to the monotonous recitation of the Romish Liturgy, which seems to be a relic of ancient art.
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