Carlo Bassini: violinist to vocal maestro
Mr. Bassini on Vocal Culture. Mr. Bassini, who has gained in a very short time so prominent a position as a Vocal Teacher of the Italian School, has consented to furnish us with a series of articles, (the first of which we publish this week,) on this interesting, and to all musical people, very important subject. Mr. Bassini, besides being a modest and accomplished gentleman, is a man of decided capacity; and possesses, perhaps, more definite and practical knowledge of the manner of eliciting and treating the human voice, than any other man in the city. Without wishing to obtrude his own views upon any one, or interfere with other teachers, he is desirous of being as useful as he can, and therefore furnishes us with these articles on his favorite subject. — The Musical World and Times, October 8, 1853.
The Art of Singing: A Series of Articles Written for the N.Y. Musical World & Times by C. Bassini
Of all musical instruments the human voice is, without doubt, the most perfect; for none other speaks so powerfully to the heart, none other relieves the over-burdened soul of feelings too subtle for words. Where language ceases, song begins. And to all is this noble power given; God’s free gift to man, wherewith to sing his praise: each one has within him this “nature’s instrument,” nay, all do sing, yet few possess the knowledge of using this language of the soul; “many are called but few are chosen;” and why” —if every one possesses a voice more or less perfect, why is it, we ask, that the effort to acquire the command of this sweet natural gift so often proves fruitless?
To answer this question will be the endeavor of these articles, and if, without criticizing wither teachers or students, I can aid but one zealous follower of this most noble Art among the thousands of subscribers of the Musical World and Times, I shall consider myself amply repaid. To those, therefore, who would understand and rightly use their powers, I address myself; a pupil of Zingarelli, and Crescentini, it is to such men, and to a conscientious study of the treatise on singing by Garcia, combined with many years experience in teaching, that I owe a knowledge which may enable me to encourage and aid those who would learn to sing. Let it be remembered, that what I have to say is not new, but either neglected, forgotten by, or unknown to, too many of those who endeavor to teach singing.
As far back as the sixteenth century the art of singing had reached a high development, and the seventeenth and eighteenth centuries were favored with singers of the highest order; such as Coforti, Farinelli, Gizziello, Ferri, Pasi, Raff, etc., etc. But, unfortunately, that epoch handed down to use vague and incomplete traditions, and the works of that time give us unsatisfactory ideas of methods of sining then pursued. Since that time the art has progressed, and, to use an improper expression, has followed the fashion, and like the clarionet of Müller, the flute of Böhm, the piano of Boiselot, and nearly all other instruments, the voice has sought for new effects in increased power and extension; and hence, at this moment, if a singer, more particularly a tenor, should present himself at the Opera in Paris, and fail to give the renowned chest C in the opera of “Huguenots,” or “William Tell,” though he sang ever so well, he would run the risk of finding few admirers, and be quite certain of producing but little effect. It was not thus with the singers above mentioned; at that time an artist’s merit consisted in the manner of executing the well studied and well finished trill, the portamento, the messa de voce, grupetto, suoni martellati, appoggiatura, acciaccatura, and all other accomplishments of the musical vocabulary. Nevertheless, the past and present centuries have had singers of great merit, among whom stand first, Velluti, Davide, Dongelli, La Fordon, La Malibran, Rubini, Garcia, Pasta, Sontag, Damauro Cinti, Nourrit, Jenny Lind, etc.
And now we may safely say, that the disciples of this much abused art have reached a degree of straining after effect, enough to satisfy even our modern composers Mayerbeer, Verdi, Halevy, etc., and the next era in music must be one that will prove the destruction of all public singers; singers whose greatness consists more in a labored imitation of some style or quality of voice unlike their own, than in a true study and careful cultivation of their naturally given powers. Even now how many victims do I know of the “Furiosi” (Furies) trying to follow these composers in their fantastic compositions, written mostly for some privileged voices as Dupréz, Persiani, Rubini, to Falcon, Frezzolini, etc. I feel no hesitation in saying, that one of the greatest drawbacks of those who study the art of singing, is the habit of attempting pieces of modern music which are in direct opposition to their vocal organization, thus, but such forcing and abuse of the voice, rendering naturally sweet and melodious voices harsh and disagreeable.
I propose to treat of this Art in its triune aspect: voice, (the instrument;) execution, a knowledge of its use;) sentiment or feeling, (the end and aim of voice and execution.)
And first, in considering the voice as an instrument, I imply the anatomy of the vocal organs, the different registers, the clear and the more sombre tones, (timbres), and the vicissitudes to which the voice is liable. By thus endeavoring to give a true idea of the voice and its proper cultivation. I hope to show the faults that retard, or prevent many from acquiring the charming art of singing.
—The Musical World and Times, October 8, 1853, p 39 and 42.
Are singers today trying to sing compositions beyond their powers? You better believe it. And do tenors especially covet the high C in chest? Are you kidding? The more things change the more they stay the same!
Bassini has much to teach us.
Claiming to have studied with Zingarelli and Crescentini at the Naples Conservatory, Bassini was known as a violinist and conductor who came to New York to make his fortune, only to pivot into voice teaching, which brought him success.
Bassini went on to write a series of articles for the Musical World and Times, which formed the basis of a vocal treatise that can be found on the Members download page. I also encourage you to seek out Stephen Austin’s scholarly edition which contains excellent introductory material and can be found at Plural Publishing.
This classic volume brings back to life Bassini's original vocal method, and it couldn't be more current today than it was over 150 years ago. In this volume, Carlo Bassini, one of the most influential teachers of singing of the 19th century, describes his practical and theoretical ideas, which are given a 21st century freshness by the editor. Many of today's texts on singing neglect to explain the practical process of voice building, therefore abandoning the methodical approach to singing first developed by Bassini. With Bassini's Art of Singing, editor Stephen Austin brings one of the seminal works in the field back to the voice profession, enabling study by new students so that their own work is properly influenced by this successful practitioner from the past. This book is beautifully bound to resemble the original 1856 edition. It is truly a must-have collector's item for singers, singing teachers, and those who collect classic books of singing.
