The Best Means of Training the Tenor Voice

E. Davidson Palmer
1912 The Musical Times  
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more » ... MUSICAL TIMES.-AUGUST i, 1912. Contrast these facts with Mr. Surette's assertion that Handel sounds 'daily more thin and archaic'; or with Dr. Walker's 'the old idol, hurled down somewhat indignantly from the impossible position that he formerly occupied, is in some danger of being relegated to the rubbish-heap.' Some little truth there is in Dr. Walker's exaggerations, but as regards England only. Elsewhere Handel is, if not increasing in public estimation, continually becoming more widely disseminated. The restriction of our own repertory to a few of Handel's works regularly repeated, caused satiety. 'Such musical circles as artistically count for anything,' to use a phrase of Dr. Walker's-we know what he meanswere content to let what little they knew of Handel stand for the whole, and have not cared even to look at the rest-at the matchless Chandos Anthems, for instance; the divinely-beautiful airs in 'Susanna'; the massive choruses in 'Athalia' and 'Belshazzar' the orchestral experiments in 'Alexander Balus '; the picturesque contrasts in ' L'Allegro' and the two Odes; least of all at the long series of operas and chamber cantatas, with their dozens, dozens, dozens of the most perfect songs ever composed. It has been thought by 'such musical circles as artistically count for anything' quite necessary to study Bach's Church cantatas, but a waste of time to read a Chandos Anthem. Probably the setting of 'Vouchsafe, 0 Lord' in Handel's short Te Deum in A, a piece which Rockstro truly calls 'of almost unexampled beauty,' would not be recognised if performed without the composer's name at any English concert; the setting in the Dettingen Te Deum has been repeatedly announced in London with Latin words, probably on the authority of a German edition ! Since the popularization of ' Ombra mai fu' as Handel's 'Largo,' more attention has been drawn to the opera airs; but even now a very few are generally known. How many English musicians have ever heard the two airs Handel thought his best, ' Cara sposa' in ' Rinaldo,' and ' Ombra cara' in ' Radamisto' ?
doi:10.2307/907175 fatcat:fbcqj52oyzfzvfphmws22ft2ai