Page:A Dictionary of Music and Musicians vol 3.djvu/559

SOLFEGGIO. vowels. After this vowel is thoroughly mastered others are comparatively easy, whereas if i or u (Italian) are attempted at first, they are usually accompanied by that action of the throat and tongue which prevails to such a disagreeable extent in this country. When the vowels have been conquered, the consonants have a much better chance of proper treatment, and of good behaviour on their own part, than if attacked at the outset of study. Vocalisation upon all the vowels throughout the whole compass of the voice should be practised after the vowel a is perfected; then should come the practice of syllables of all kinds upon all parts of the voice; and then the critical study and practice (much neglected) of recitative.

The words and, from Gorga, an obsolete word for 'throat,' are applied to the singing of birds, and by analogy to the execution of passages requiring a very quick and distinct movement or change of note, such as trills and the different kinds of turn, also re-iterated notes and quick florid passages in general. The English verb 'to warble' is given as the equivalent of gorgheggiare, but warbling is usually accepted to mean a gentle wavering or quavering of the voice, whereas agility and brilliancy are associated with the Italian word. A closer translation, 'throat-singing,' would give a rendering both inadequate and pernicious—inadequate, as throat-singing may be either quick or slow, and pernicious as suggesting unnecessary movement of the larynx, and helping to bring about that defective execution so often heard, in which there is more breath and jar than music, closely resembling unnecessary movement of the hand when using the fingers upon an instrument. The fact is, that execution, however rapid, should be perfect vocalisation in its technical sense, and perfect vocalisation has for its foundation the Portamento. The Portamento (or carrying of the voice—the gradual gliding from one note to another) removes inequalities in the voice, and facilitates the blending of registers. Increased in speed by degrees, the voice learns to shoot from note to note with lightning-like rapidity, and without the above-named convulsion of the larynx which produces a partial or total cessation of sound, or at any rate a deterioration of sound during the instantaneous passage from note to note. It is this perfect passage from note to note, without lifting off or interrupting the voice, that fills space with a flood of sound, of which Jenny Lind's shake and vocalised passages were a bright example. But this kind of vocalisation is the result of years of conscientious practice and the exercise of a strong will; and it is just this practice and strong will that are wanting in the present day. Exercises are not wanting. With such books as those of Garcia, Panseron, Madame Sainton, and Randegger, etc., etc., and of course some special passages for individual requirements, to say nothing of those of Rossini, and the numberless vocalizzi of Bordogni, Nava, etc., etc., the 'Solféges d'Italie,' and the 'Solféges du Conservatoire,' there is work enough if students will avail themselves of it. Tosi, in speaking of the difficulties in teaching and learning the shake says, 'The impatience of the master joins with the despair of the learner, so that they decline farther trouble about it.' A summary mode of getting over difficulties!

The first of the two great works just named is entitled 'Solféges d'Italie, avec la Basse chiffrée, composés par Durante, Scarlatti, Hasse, Porpora, Mazzoni, Caffaro, David Perez, etc. Dediés à Messeigneurs les premiers Gentilshommes de la chambre du Roi [Louis XV], et recueillis par les Srs. Levesque et Bêche, ordinaires de la Musique de sa Majesté.' The work is therefore obviously a collection of Italian Solfeggi made in France by Frenchmen. Levesque was a baritone in the King's Chapel from 1759 to 1781, and in 1763 became master of the boys, Bêche was an alto. The first edition of the work appeared in 1768; the fourth, published by Cousineau, at Paris in 1786. It forms one large oblong volume, and is in four Divisions: I. The 'indispensable principles' of singing—names of notes, etc., and 62 easy (anonymous) Solfeggi in the G clef with figured bass. II. Solfeggi 63 to 152 for single voices in various clefs—including G clef on 2nd line and F clef on 3rd line—in common, triple, and compound time, all with figured basses. III. Solfeggi 153—241, with changing clefs, and increasing difficulties of modulation and execution—ending with the Exclamationes quoted in the text; all with figured basses. Divisions II and III are by the masters named in the title; each Solfeggio bearing the composer's name. IV. 12 Solfeggi for 2 voices and figured bass by David Perez, each in three or four movements. The forms of fugue and canon are used throughout the work, and some of the exercises would bear to be sung with words. One, by Hasse, is a graceful arietta. A few extracts will show the nature of the work. No. 1 exhibits the kind of instrumental passage that frequently occurs in Scarlatti's solfeggi. No. 2, by Leo, is very difficult, and gives much work to the voice. No. 3, from the exercises for two voices of David Perez, keeps the voice much upon the high notes. No. 4, from the same, requires, and is calculated to bring about, great flexibility. No. 5, by Durante, is curious, and is evidently intended as an exercise in pathetic expression. It has no figured bass, like the other exercises in this collection, but a part in the alto clef, clearly intended for an obbligato instrument, probably for the viol d'amore.