Glen Collection of printed music > Printed music > British minstrel, and musical and literary miscellany

MUSICAL AND LITERARV MTSCELLANY.
159
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PITCHING THE VOICE.
Pitching the voice is uniting as perlcctlv as pos-
sible the movements of respiration with the emission
of sound, and to develop the voice as much as its
compass will allow, but it must not degenerate into
a shriek. In former times, when what is called the
good old Italian school existed, pitching the voice
was a long study; it was not then supposed that
talent could be improvise; it is easy to judge what
pains were taken by the following anecdote: —
Porpora, one of the most illustrious Italian mas-
ters, took a liking to a young pupil, and asked him
if he felt sufficient courage to follow his directions,
however tiresome they might prove ; receiving an
affirmative answer, he took a sheet of music paper,
wrote down the diatonic and chromatic scales, the
thirds, fourths, and Hfths, the intervals, shakes, ap-
pogiaturas, slurs, turns, cadenza, and sol-faing of
dili'erent sorts. Both master and scholar spent a
year over this single sheet of music ; the second and
third year they did the same, the pupil began to
nmrmur; the master reminded him of his promise.
The fourth year passed, and so did the fifth ; no
change had been made, the lesson was the same,
with some instructions on articulation, pronuncia-
tion, and declamation. At the end of the fifth year,
the scholar not aware of the progress he had made,
was surprised to hear his master say, " Go, my sim,
thou hast nothing more to learn, thou art the first
singer m the world."
singer was Caflarelli.
He spoke truly, for this
MADAME MAINVILLE FODOR.
This lady, who first performed the character of
Zerlina on the English boards, is settled at Foun-
tainbleau. Her musical soirees are spoken of with
the highest gusto, where the musical selections are
executed with a perfection that artists never hear
and feel so thoroughly as when they are given in
this manner — eiifamille. Madame Fodor was one
of the few opera singers who gave us the idea of an
artist that possessed a knowledge beyond the mere
part in which she appeared. Her manner, like that
of Lablache, impressed you with the feeling that
she was a musician. She never committed any oi
those contemptible extravagancies that some of the
modern singers resort to, for the purpose of creating
a sensation, and because they are conscious of a
deficiency of true sentiment. Her singing of Mo-
zart's music was all but perfection. We despair of
ever hearing the part of Zerlina, and particularly
the " Batti, batti," delivered with the exquisite
polish, brilliancy, and purity of tone with which she
was accustomed to invest it. They were noble days
that first season of Don Giovanni! Madame Fo-
dor, it is said, has still preserved the fine quality of
her tone.— Musjtai World.