November 28, 2013
November 27, 2013
|Giovanni Battista Lamperti with Arthur M. Abell|
American music critic Arthur M. Abell, 1868-1958, was Berlin correspondent for the Musical Courier from 1893 to 1918 and later published Talks with Great Composers, his reminiscences of conversations with Brahms, Strauss, Puccini, Humperdink, Bruch, and Grieg. He knew many musicians both obscure and famous, and as a former violinist himself, especially befriended other violinists. —from the Arthur M. Abell Papers.
Clippings File, Giovanni Battista Lamperti, New York Public Library for the Performing Arts, Lincoln Center, New York City.
Labels: Giovanni Battista Lamperti
November 25, 2013
The three photos you see here were taken at the New York Public Library for the Performing Arts at Lincoln Center while I was conducting research for my book. Technology has changed how we do things, hasn't it? For Manuel García, it was the invention of the laryngoscope, which he saw as confirming his theories about the voice. For Herman Klein, it was the invention of the gramophone, which lead him to write down his master's teachings. For me, it has been the internet (and in this case the smartphone) which has enabled me to bring their teachings to a new generation.
Klein's studio and library on West 77th Street was where he wrote The Hermann Klein Phono-Vocal Method Based Upon The Famous School Of Manuel Garcia in 1908-09, which is only six blocks north of where I am writing this post. I've walked by Klein's house innumerable times, and wrote about it here. A lady who lives in the building told me that the room you see in the first photo on this page still has its original moldings. Fancy that. All is not lost in the city that never sleeps, and prides itself on continual reinvention. Speaking of which: the more I read Klein's manual (which you can find here), the more I am convinced that he codified timeless teachings. Does that mean there is nothing new to discover? Of course not. The pace of scientific investigation hasn't stopped since García set about placing his father's teaching into physiological terms, and then finding a way to see the vocal folds in action. Current researchers are simply building on work father and son began two hundred years ago.
Oh.. see the portrait on Klein's Steinway that is hard to make out? That's the same one that appears on the cover of my book.
November 3, 2013
I am very happy to announce that Hidden in Plain Sight: The Hermann Klein Phono-Vocal Method Based Upon The Famous School Of Manuel Garcia is now available!
This book is the result of many hours of research, as well as my sincere desire to give readers of VoiceTalk information that is useful in the voice studio and practice room. As Klein notes in his text: "What is said in these pages takes the place of what should proceed from the mouth of the teacher." Klein's teacher was none other than the legendary Manuel García.
In my research, I have found that students of the Lamperti School were much more vocal about what they had been taught in newspapers and articles, while García School exponents voices were rather muted. The reason for this difference? While hard to pinpoint, I believe it has everything to do with the proprietary nature of García's studio instruction, which makes Klein's text most unusual in that he pulls back the curtain on what was said and done by García himself. Written only three years after García's death in 1906, Klein's manual documents the teachings of the man whom Klein described as "the greatest singing teacher that ever lived."
Click here to order your copy!