. Style in singing. h the enchantress knows that the TRADITION—POINTAGE 75 mission of the knight is to deprive her of liberty, sheherself succumbs to the fatal passion of love. I havebriefly described the scene in order that my meaningmay be clear. In the second half of the first bar, theacciaccatura was never intended by the composer to beactually sung as printed. It was his only way of indi-cating the sob or sigh whereby Armide finishes herexclamation, Ah! The effect is called the Dramaticsob, and is known to every opera-singer. Here is thecomposers meaning, as far as it is possible to conve
. Style in singing. h the enchantress knows that the TRADITION—POINTAGE 75 mission of the knight is to deprive her of liberty, sheherself succumbs to the fatal passion of love. I havebriefly described the scene in order that my meaningmay be clear. In the second half of the first bar, theacciaccatura was never intended by the composer to beactually sung as printed. It was his only way of indi-cating the sob or sigh whereby Armide finishes herexclamation, Ah! The effect is called the Dramaticsob, and is known to every opera-singer. Here is thecomposers meaning, as far as it is possible to convey it in writing 4 j* Armide £ ^^ p 5 f Ah! si la 11 - ber - te (A portamento must be made from the first note tothe next, when the breath must be taken quickly togive the idea of a sob or sigh.) Again, in a recent edition of the same air by the dis-tinguished composer Vincent dIndy (Nouvelle EditionFrancaise de Musique Classique), occurs the following: Hten- a tempo |»i r? i rTcT^ m tu_ re - gnes dans mon cceur!. 76 STYLE IN SINGING The effect of the F sharp in the last bar, if sung againstthe harmony given, in which the preceding chord isresolved, would be intolerable. Surely, the composerintended a pronounced rallentando on the latter half ofthe bar, and a carrying of the voice by a portamento tothe last note. Thus: rail. feg tu m m ft=M T&=& re - gnes dans mon coeur! In the edition of the immortal air in the opera ofXerxes, universally known as the Largo of Handel/also revised and edited by dTndy, may be noticed thefollowing: jj¥« j> i gj JiXJiTf^ Nonvbl-trag - gi - no mai la ca- ra pa-ce, ne mk £ f £ f Sfc 1 jp pj I JmJyp pnr p piM* giun-gaa pro-fa-nar-vi au-stro ra-pa-ce! pfe £ W^W if a * m WT. 2== & TRADITION—POINTAGE 77 Of course, every operatic conductor knows that thechord in the orchestra must be played after the voice,as the technical phrase has it. But not every pianist ororganist is familiar with this usage, and the effect wouldbe very disagreea
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Keywords: ., bookcentury1900, bookdecade1910, booksubjectsinging, bookyear1911
