Читать книгу Great Singers on the Art of Singing - James Francis Cooke - Страница 41

After all, singing is singing, and I am convinced that my master's idea of just letting the voice grow with normal exercise and without excesses in any direction was the best way for me. It was certainly better than hours and hours of theory, interesting to the student of physiology, but often bewildering to the young vocalist. Real singing with real music is immeasurably better than ages of conjecture. It appears that some students spend years in learning how they are going to sing at some glorious day in the future, but it never seems to occur to them that in order to sing they must really use their voices. Of course, I do not mean to infer that the student must omit the necessary preparatory work. Solfeggios, for instance, and scales are extremely useful. Concone, tried and true, gives excellent material for all students. But why spend years in dreaming of theories regarding singing when everyone knows that the theory of singing has been the battleground for innumerable talented writers for centuries? Even now it is apparently impossible to reconcile all the vocal writers, except in so far as they all modestly admit that they have rediscovered the real old Italian school. Perhaps they have. But, admitting that an art teacher rediscovered the actual pigments used by Leonardo da Vinci, Rembrandt or Raphael, he would have no little task in creating a student who could duplicate Mona Lisa, The Night Watch or the Sistine Madonna.

After leaving Rootham, I won the four hundred guinea scholarship at the Royal College of Music and studied with Henry Blower. This I followed with a course with Bouhy in Paris and Etelka Gerster in Berlin. Mr. Rumford and I both concur in the opinion that it is necessary for the student who would sing in any foreign language to study in the country in which the language is spoken. In no other way can one get the real atmosphere. The preparatory work may be done in the home country, but if one fails to taste of the musical life of the country in which the songs came into being, there seems to be an indefinable absence of the right flavor. I believe in employing the native tongue for songs in recital work. It seems narrow to me to do otherwise. At the same time, I have always been a champion for songs written originally with English texts, and have sung innumerable times with programs made from English lyrics.