| Share page | Visit Us On FB |
|
CONCEPTS OF INTERPRETATION 227
portion of a vocal composition (usually an opera or an oratorio) as opposed to the lyrical portion. Recitative may appear either accompanied (stromentato) or unaccompanied (secco). In either case, the syllabic values of the language are expressed "in a quasi-mensural plain-song," often producing melodic contours that are as free as those of speech. Some recitatives have a melodic form which makes them musical works of the first order. Some seek expressiveness "through a strained use of vocal ornament." But the characteristic of good recitative, even when it is sung in strict time, is that it "gives with extraordinary fidelity the accentual value to the words which belongs to good speaking and emphasizes the broad sense of the text/' [708, vol. IV, pp. 294 and 337]
Eleven authors- claim that it is this close relationship to speech that makes recitative a useful medium for studying interpretational and diction factors in singing. W. J. Henderson writes that in the delivery of unaccompanied (secco) recitative it is especially important that "the first thought ... be given to the text. . . . The music is altogether a secondary consideration." [243, p. 136] A. M. Henderson recommends the use of "recitatives from the classic masters" as an excellent form of practice in verbal (textual) emphasis. [240, p. 72] In recitative, "the phrases have more of the nature of impassioned speech," emphasizing the "intelligent and interested expression of the text." [Shaw 521]
According to Barbareux-Parry, a masterful rendition of recitative is always the sign of a vocal artist. It involves singing with the ease of speech throughout the entire compass, a condition possible only with perfectly balanced tone production. [34, p. 263] In recitative, the singer's interpretation is the focus of attention; the accompaniment recedes into the background. [209, p. 157] Its success depends upon "the proper capturing of mood." [Samuels 487, p. 40] Finally, W. J- Henderson warns the student vocalist that recitative is still song. It is not to be shouted, cackled or barked but rendered musically, with musical accent and emphasis kept intact. However, in delivering recitative, the important point is "what is said in singing, and not what is sung in the saying." In other words, meaning and mood are to be considered more important here than melody. [243, pp. 141 and 145]
TECHNICAL APPROACH
Criteria of song selection. Grove's Dictionary defines song as: "a short metrical composition whose meaning is conveyed by the combined force of words and melody." [708] According to Webster, song is "a melody or musical setting for a lyric poem or ballad; ... a lyrical poem adapted to vocal music." La Forge describes song as "a [musical] composition |
||