. Style in singing. , Otello, and particularly Falstaff. Here I may say that it is sometimes necessary toalter the words on account of the impossibility of per-forming certain passages as written. In the earlierpublished scores of Samson et Dalila (Saint-Saens), thefollowing passage in Act II, Mon coeur souvre a tavoix, as the composer wrote it, occurs as one phrase: 36 STYLE IN SINGING t Andantedolce m as 5=*. F#^i Sg fe ij^*>H 3 e Ah! re - ponds_ a ma ten - dres-se! This being impracticable of execution in one phrase,and there being no opportunity of retaking breath untilthe close of the
. Style in singing. , Otello, and particularly Falstaff. Here I may say that it is sometimes necessary toalter the words on account of the impossibility of per-forming certain passages as written. In the earlierpublished scores of Samson et Dalila (Saint-Saens), thefollowing passage in Act II, Mon coeur souvre a tavoix, as the composer wrote it, occurs as one phrase: 36 STYLE IN SINGING t Andantedolce m as 5=*. F#^i Sg fe ij^*>H 3 e Ah! re - ponds_ a ma ten - dres-se! This being impracticable of execution in one phrase,and there being no opportunity of retaking breath untilthe close of the passage, it was altered in the latereditions, and now stands thus: a , dolce ■frfl fjj Mb or-0 gpl^J^JJUJ^JiN | £ AJi! re - pondsr_ re - ponds a maten-dres-se! This device of repetition, applied either to a wordor to part of a phrase, is perfectly justifiable in caseswhere the artist, for physical reasons, is unable to singthe phrase in one breath. I give an excerpt fromWebers Der Freischiitz (Grand Air, Act II):. Oh love- ly night! This may be sung:
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Keywords: ., bookcentury1900, bookdecade1910, booksubjectsinging, bookyear1911
