MUSICAL COURIER
16
January 18, 1923
the daily practice of all of these exercises should be insisted on, never leaving out any, since it is only through the constant repetition of exercises done in the same way day in and day out that correct habit is formed.”
"Will this not turn out a mechanical stereotyped soft of singer?” the. writer suggested.
“Not at all, for if the singer’s voice is under efficient control it becomes easy for him to give his entire thought to the interpretation to bring out all the subtle shadings of
WILFRIED KLAMROTH
the text, every gradation of nuance and color. This elevates any singer into the realm of the great artist, for he is then in a position to forget the mechanism of the voice, which, through systematic control, is ready to execute all the vocal difficulties at the slightest wish of the singer. If a singer must be constantly conscious of his limitations in coping with the technical difficulties of a piece, due to a lack of so-called mechanical control (resulting in a state of uncertainty and constant worry), he certainly cannot put his whole attention toward enriching the interpretation. Imagine Paderewski playing on an instrument that was not mechanically perfect. Even he with his colossal art could not draw from a mechanically imperfect instrument the soulstirring music that he is capable of producing on a perfectly adjusted instrument. It is plain to see then that if the student of singing will but drill his voice along definitely described lines, so that it responds to his slightest whim, and if he be endowed with the ‘divine spark,’ we shall hear really great singing.”
“What is another essential requirement of the perfect student ?”
“He must think; but there are two ways of thinking— constructive thinking and obstructive thinking. I will clarify this statement with an illustration. A very prevalent fault among singers is a rigid jaw, and naturally to cure this the fault must first be recognized by the singer. Suppose the student has been told that he has this fault and it has been recommended to him to practice before a mirror certain exercises devised to overcome this condition. If in watching himself in the mirror his mind persistently registers ‘isn’t my jaw tight,’ or even ‘I must not tighten my jaw,’ he will only succeed in retaining his tight jaw by repeating the negative or obstructive thought, for it is a recognized fact that the mind imparts to the voice the quality of its thought, and thinking ‘tight,’ he naturally tightens, thus definitely obstructing his effort to loosen. This same process may in turn be made to work constructive by letting his mind dwell on the quality desired in place of the quality he is endeavoring to rid himself of, and by holding the thought, ‘I must loosen my jaw’ or words to that effect, he will by the same mental process just enumerated find that the jaw will perceptibly loosen. Then through the law of habit this free jaw action will become permanent and natural. That is what I call right thinking. Recognize the fault and ever after entertain in thought only the quality desired. Replace negation with affirmation. One can never arrive at the right destination if headed in the opposite direction.”
Mr. Klamroth has had unusual success in launching singers who have been qualified for public appearances after several years of study; a future article will be devoted to naming these, whose names will be recognized as leaders. A little book which he has constantly with him contains many of his own aphorisms, and a few of these were copied: “When interpreting a song forget the mechanism;” “A stiff jaw is one of the very worst vocal faults;” “Muscular interference is one of the chief causes of bad singing;” “Do not turn out stereotyped students, but make the work fit the pupil’s needs and you get results;” “Teach pupils how to practice correctly,”
The foregoing is but a brief resume of the interesting hour and cannot give (except in suggestion) a hint of the enthusiastic music lover, the up-to-date talker, the cultured and traveled man of the world, all of which are combined in Wilfried Klamroth.	R.
Augusteo Conducts Opera at Rome
Rome, December 10.—The Augusteo was gloriously inaugurated this season by Verdi’s Requiem Mass with three hundred and fifty performers. Soloists were Mazzoleni, Bonci, Meghini and De Angels, with Molinari conducting. Immense success, four repetitions.	D. P.
ear has been of inestimable help to me in diagnosing the ills of the human voice.”
“Why do so few promising voices attain to any great degree of excellence as artists?”
“There are many reasons for the non-success of many of our young singers but there are two that stand out prominently. Firstly, the usual promising student of singing is one who has been induced to study merely on the strength of possessing a beautiful organ. Whether he be endowed with musical sense, stick-to-itiveness, and endless patience, usually is considered of minor importance, whereas in my estimation these qualities are paramount to a successful development of the voice. The mere possession of a Stradi-varius will not make a great violinist of the fortunate owner! The chances are that most of the great instrumentalists patiently developed their art on cheap and inferior instruments; but their labor has been continuous and neverending. An old adage that I never tire of using says that ‘Genius is the infinite capacity for taking pains,’ and it is this quality one must find, combined with the great voice, before one can hope to develop the superior artist. Secondly, because students of singing, in most cases brought under my observation, do not know how to practice; this must be taught them and not left to chance. For that reason the instructor should outline a regular system of practice, devising a set of tangible and logical fundamental rules and attendant exercises. These should all be written down and carefully explained. To these should be added further exercises to fit the individual needs of the student, and
WILFRIED KLAMROTH TELLS
SOMETHING OF HIS METHODS
Suits Them to Needs of Pupil—Common Sense Applied to Vocal Teach in it—It Takes Brains to Sing Well
The white portals of the entrance of the Wilfried Klamroth residence gives it a mark of unique distinction, for it is the only one of the kind in the block; this individuality is similarly a mark of Mr. Klamroth himself, for his over six feet of manly frame, as well as his kindly countenance, and refined manner are something always noted. It was with considerable difficulty that the present writer was able to get any information from him, for he detests selfexploitation, and is averse to any kind of braggadocio.
“What method do you teach?” he was asked.
“Having studied in Italy and France, I might state that my method of teaching singing is largely influenced by these great schools of singing, but I think I will be rightly understood if I state that I have no fixed method, beyond certain fundamentals of tone production, which must be observed by all. The cure must be devised to fit the case, and this is where experience enters as a striking factor. In the course of over twenty years of active teaching, from the thousands of voices criticized and diagnosed, I have accumulated a rich store of experience from which I may draw as occasion demands. The study of the violin in my youthful days and its consequent wonderful training of the
NEV1N
niLLIQAN
and
in “Three Centuries of American Song”
“I wish that every Woman’s Club in America might hear this program, for it presents the truest and best of Ameri-
can music.
Anne Faulkner Oberndorfer
Music Chairman
General Federation Women’s Clubs
A FEW RECENT SUCCESSES
Mr. Milligan has a keen sense of humor and his lecture was heartily applauded. Miss Nevin’s voice is of wide range, most agreeable in its middle and lower registers, and she sings with the finish and charm of the mature artist.—Detroit Free Press, Nov. 29, 1922.
She was charming to watch and delightful to hear.—Detroit News, Nov. 29, 1922.
Miss Nevin was dressed in elaborate and beautiful costumes to characterize the style of each period and proved that she could captivate the interest of her audience by her sweet soprano voice.—Waynesboro (Pa.) Press, Dec. 2, 1922.
Mr. Milligan is a ready speaker and was both illuminating and amusing. Miss Nevin made an attractive appearance in the various picturesque costumes and her interpretations were given with fine art.—Washington (D. C.) Star, Dec. 13, 1922.
Miss Nevin’s voice is clear and ringing and she interpreted well. Mr. Milligan explained songs in a most happy vein.—Washington (D. C.) News, Dec. 13, 1922.
New York Recital in Town Hall, Thursday Evening, February 15, 1923 AVAILABLE ALL SEASON
Exclusive Management
DANIEL MAYER Aeolian Hall, NEW YORK