By Antoine Reicha, Paris, 1833
Translated by Adrians Ozols (C) Copyright Melbourne, 2023
This is a draft translation of the first of four books in Antoine Reicha’s Art du compositeur dramatique ou cours complet de composition vocale, first published in Paris in 1833.
Antoine Reicha, Anton Reicha, Antonín Rejcha
I am in the process of translating the whole work from the original French. I chose to post it piecemeal so that at least parts of it are available sooner, which is important because it has never before been translated into English. In time the translation and formatting will be improved and the rest of the work will be posted here before it is prepared for publication. Feedback by scholars on the translation would be most welcome – some decisions regarding nomenclature were difficult to make.
This is the start of the translation:
Preface
There has been a great demand for a treatise on dramatic music, or even vocal composition more generally, for a long time.
The work we are publishing today on this fascinating subject is composed of many diverse branches. They offer rich and abundant material, but we cannot only analyze them with notes, chords, and modulations as we do with other types of music. Accordingly we will present, in a fashion, a specialized course on musical literature for the practical use of young composers. This is the task that we have established for ourselves.
So that students can master the execution, in time, of all the different material that is contained in this treatise, it was essential to reveal to them practical secrets that some masters are not always willing to divulge… We are enemies to these masters’ anti-philosophy of the arts. And so we have not omitted anything here, at least intentionally, that could enlighten the inexperienced, instruct the youth, and meet all the requirements pertinent to the composition of scenic music.
Music has been composed, and will continue to be composed, with varying degrees of quality without recourse to treatises: a privileged organizational disposition, a trained ear that easily grasps melodic and harmonic effects, a good enough memory, can contribute, up to a point, to produce a composer of mixed success, despite possessing no schooling or principles and guided more or less by chance.
However, one cannot achieve writing with understanding, sound judgment of the qualities or flaws of one’s works, and above all, the creation of works exempt from reproach, without verbal instructions, that is, without a good teacher. And it is not a common thing, especially for those living far from the capitals where the arts flourish, to have access to such teachers. To replace these oral instructions, especially for those who lack the assistance of professors, it is therefore necessary for students to find them in a structured body of reasoned doctrine on the subject at hand. We believe this reason alone is sufficient to ensure that the usefulness of this work is not disputed.
One may ask, no doubt, why we cite our own works in support of our instructions instead of drawing practical examples from well-known and rightfully celebrated operas. To that, we respond that it seems almost superfluous to reproduce examples here that are so familiar that they can be found on every music stand or consulted in any music library.
In addition, new or less well known pieces must have at least some curiosity interest, even if they are inferior to other pieces. Moreover, we are not concerned with the notes and musical ideas contained in these pieces as much as their structure, conception, texture, and their differences, such as an aria or duet, chorus or ensemble piece, finale, etc, etc. We are also interested in the union of lyrics with music, the repetitions of phrases, thoughts, and words that are at the composer’s disposal.
In addition to these reasons, there is one that seems even more compelling, which is that among those who write about teaching in any art or science, the public usually only grants its trust to those who know how to combine example with precept. Therefore, it is solely for these reasons that we have deemed it appropriate to present examples drawn from our own works to our readers.
Undoubtedly, it is regrettable that lyrical composers of a superior talent, such as Messrs. Méhul, Catel, Chérubini, Lesueur, Berton, and Boyeldieu, have not published works or at least sufficiently extensive didactic notes on dramatic music: their insights, observations, and extensive experience in the art, which they have enriched and honoured, would have furnished valuable material for a school of this kind. However, young composers have been deprived of this school, which would be an indispensable complement to their studies.
Therefore, we have undertaken this enterprise, encouraged by the benevolent reception granted to our previously published treatises. May it have the same success as its predecessors. May it above all demonstrate to young French musicians our constant concern for them and express our gratitude to the country that has deigned to adopt us as members of the great nation.
Note: In order to reduce the size of this treatise as much as possible, we have reduced the musical staff to two staves in the examples, which were originally written for a full orchestra. Nevertheless, these extracts from the musical score are not always a simple accompaniment to the piano, as they often indicate the most prominent elements of the orchestration.
Paris, 30th July, 1833.
First Book
Preliminary Instruction
A professional composer delivers works specifically according to their disposition, their taste, or their circumstances. Whether dramatic music, sacred music or instrumental music each career requires:
- Knowledge, familiarity, and sufficient practice in harmony
- The study of the voice and of the instruments that makeup the orchestra
- A certain proficiency in finding and to inventing musical ideas
- The talent of connecting their ideas and knowing how to continue them and to build on them
We will not treat these ideas here. I have sufficiently expounded upon them in my works on melody, on harmony, and in my treatise on high composition. As lyric music calls poetry to its aid, and one cannot set words to music without observing the laws of prosody, it is necessary to start by stating that a composer cannot ignore this aspect.
In addition to this article on prosody, it is indispensable for a Composer of vocal music, especially a dramatic Composer, to have sufficient instructions on punctuation, grammatical and oratorical accent, the nature of an opera libretto, and the lyrical versification, all from a musical perspective. Since all these aspects precede the creation of the different pieces that constitute an opera, we place them at the beginning of this work.
Under Prosody In Relation To Music
The primary duty of a Composer of vocal music is to observe and respect the prosody of the language in which they compose. In this article, we will indicate the long syllables with the symbol (—) and the short syllables with the symbol (v).
In music, we distinguish between long syllables and short syllables based on their placement within the measure. Thus, a eighth note, quarter note, or whole note can be used for both a long syllable and a short syllable (see Example 1).
General rules
As soon as a word has more than one syllable, regardless of the language, it contains at least one long syllable. This final long syllable should fall on a strong beat of the measure, or at least on the first division of a beat where the short syllable falls on the second division of the same beat.
Let’s assume that a two-syllable word is prosodically marked as (— v), long and short. Here are the different ways to properly place them within common musical measures (see Example 2).
In a movement of Andante, Adagio, or Largo, this word can be placed on any beat of the measure in the following manner (see Example 3).
It is necessary to note that when syncopating notes, the strong beats are anticipated by the weak beats, and in this case, the long syllables can already be placed on this anticipation (see No. 4).
Syncopated notes are not suitable for short syllables. When creating a sequence of syncopations, the short syllable should be clearly placed on the weak beat or relatively weak compared to the preceding note (No. 5).
Here are examples of how to prosodize a two-syllable word with the first syllable short and the second syllable long (see No. 6).
When two notes of the same value follow each other, one is always long and the other is short, depending on their position within the measure, as we have previously observed (see No. 7).
A note of longer duration than the following one may sometimes receive a short note, especially in cadences, if the shorter note falls on the beat (see No. 8).
In words with three or more syllables, one syllable is always the longest. This syllable should be placed on the first beat of the measure, if possible, or at least on the third beat of measure in 4/4 or 12/8 time, as long as that syllable is clearly emphasized. The other syllables of the same word present no difficulty when setting them to music.
We will refer to this longest syllable as the “tonic syllable” or “tonic accent.” A series of syllables prosodized as follows: v v v — v — v — , can be consistently declaimed in music as if they were prosodized in the other manner: v — v — v v v — (No. 9) because there is no difference in music between v v v — and v — v — ; therefore there is also no difference between v v v | — v — v | — and v — v | — v — v | — (No. 10).
To set two long syllable in music ( — — ) there are no other ways to prosodize it other than in this manner : v — or — v (see No. 11), but since one of the two syllables always carries more weight than the other, it is this one that should be placed on the strong beat.
Monosyllabic words do not have a fixed prosody; it often depends on their placement within phrases. This is why they are used sometimes as long and sometimes as short syllables.
The Composer is free to place multiple notes on the same syllable, as they see fit. However, if multiple notes are to be placed consecutively under a single syllable, such as in virtuosic arias, that syllable on the long par excellence and contain the vowel “A” or the vowel “E”
It is not difficult to place multiple notes on each syllable and to still correctly prosodize, but it does require practice and a system in order to execute it properly.
The following six syllables v — v — v — can be treated in numerous different ways, with 2, 3, or 4 notes assigned to each, for example (see No. 12).
Special Remarks
ON THE PROSODY OF THE FRENCH LANGUAGE
The prosody of all languages, except for French, is fixed and purely rhythmic. Each word has its long syllable, which remains unchanged regardless of its position in different phrases of speech.
The French language differs, in this respect, from all other languages in a surprising manner. Its prosody is more logical than grammatical. It is true that each isolated word, which is not a monosyllable, also has its fixed prosody: because all words, without exception, have the last syllable long when they do not end with a silent “e.” This syllable is called masculine, and the same applies to every syllable that is followed by a silent “e” and is also long. Thus, the word soleil (v — ) can serve as an example for all words that fall into the first case, and the word lune ( — v ) for all those in the second case.
French grammarians speak of two types of long syllables (long and extra-long), and two types of short syllables (short and extra-short) and also of uncertain syllables. This is related to nuances and subtleties of pronunciation however, rather than to the tonic accentuation that every multi-syllabic word has in all languages. This tonic accent is always the long syllable, as music obviously proves. French speakers who do not speak another language in which prosody must be strictly observed (such as in classical and Germanic languages) have a very vague idea of what is called prosody in other countries.
Regarding music, there does not exist and cannot exist any other rule than the one we have given regarding prosody, taking French words into account in isolation.
The two words páte and patte are undoubtedly pronounced very differently, but the tonic accent ensures that they have the same prosody, which is ( — v ). The Composer does not make any mistake in declaiming them in the same manner (see No. 13) because if the first syllable in the word patte were short, it would be necessary to assume that the second syllable is long, and the tonic accent would fall on the silent “e” which would be absurd. The same applies to the words “battons” and “batons,” which are pronounced differently but have the same prosody ( — v ).
The silent “e”, in poetry, always forms a syllable in the following two cases 1. when it is at the end of a line, and 2. when it is in the middle of a line, when it is not followed by another vowel. This syllable is always considered short: we call it feminine; the preceding syllable is always considered long and therefore masculine. But in the construction of phrases, the long syllable of words that do not end with a silent “e” can become short at any time. The logical reasoning for this, unknown in other countries, in our opinion, honors the spirit of the French nation.
Therefore when an orator, a good actor, or any educated French person speaks or declaims, they do not pause each time but only on the syllables where the sense of the phrases rests, to ensure the meaning is promptly comprehended, or at least the most important sense of what they are saying is understood. To make their way to the syllables that we call logical accents, which are consequently always long, a French orator passes lightly, or you could say more or less rapidly on all the syllables that precede it. So if, for example, the penultimate syllable of a phrase is masculine, it is pronounced as short even though it would be long if the word were considered in isolation. The following examples better clarify this law of French declamation:
“Quel sang demandez-vous ?”
( v — v — v — )
The last syllable of this hemistich is long because one cannot reasonably pause on any of the preceding five syllables. Therefore, the third syllable in the word ‘demandez’ is short, although this syllable is long when the same word is placed outside of the phrase.
“Si pour sauver son peuple il ne vous gardait pas”
( — v v — v — v v v v v — )
In the word ‘gardait’, taken in isolation, the second syllable is long, and in the verse it is forced to be short because there is no possibility of pausing on it.
“Mon père, en quel état vous vois-je devant moi ?”
( v — v v v — v — v v v — )
In the word ‘devant’ taken in isolation, the second syllable is long, and in the verse it is forced to be short for this same reason.
The logical syllable is not always at the end of the hemistich or a verse; it is often elsewhere, such as:
“Pardonnez-moi mon père.”
( v v v — v — v )
Here, one must quickly arrive at the fourth syllable, and yet the third syllable in ‘pardonnez’ is short, although long when the word is taken in isolation. No French speaker would recite, and could even declaim, this hemistich as follows: ( v v — — v — v ) or ( v v — v v — v )
The logical accent, according to the nature of the phrase, is sometimes the second or third syllable, sometimes the fourth, fifth, or sixth. When it is the sixth, one must glide a little more rapidly over the preceding five syllables, but the length of these syllables do not need to be of the same value, which would often be impossible in music. Thus, one can detach two syllables slightly, rendering them a little longer compared to the other three, provided that the logically stressed syllable is the most pronounced, and the most strongly felt or accentuated through being comparatively longer or by making a short pause after it. Here is an example where the long syllables are indicated by a cross:
“Expliquez mieux les soins et les justes alarmes,
D’un roi, qui pour vainqueurs ne connait que vos charmes. “
Here is the prosody of these two verses:
1. ( v v v — v — v v — v v — v )
The fourth and ninth syllables are slightly longer, although they are not logical.
2. ( v — , v v v — vv — v )
The second syllable is logical because one must pause briefly on it after the third. The ninth syllable is of the same nature as the fourth and sixth.
In the same sentence, one can occasionally encounter multiple logical syllables, which common sense easily indicates. Thus, long syllables in French declamation are: 1) naturally long syllables in each word, and 2) logical syllables which often coincide with naturally long syllables.
In heroic or Alexandrine verses of twelve feet, the hemistich or the sixth syllable and the last masculine syllable of the verse are the logical syllables, when these verses are well crafted. In ten-syllable verses, it is usually the fourth syllable, where the caesura occurs, and the last masculine syllable that are the logical accent. In all other verses with less than ten feet, there is no observed hemistich or caesura, or either one or the other is placed arbitrarily according to the sense of the words.
The concluding feminine syllable of the silent ‘e‘, which is always weak and cannot be emphasized, is never a stressed syllable — even though it often ends a phrase or a period. Instead, it is always the syllable before it that is stressed. For example, when the hemistich ends with the feminine syllable, the sixth syllable always remains stressed in Alexandrine verses. In ten-syllable verses, it is always the fourth syllable that remains logical when the caesura ends with the silent ‘e‘. At the end of all well-crafted verses, where the feminine syllable is present, it is also the preceding syllable that is stressed. The composer is always obligated to give the silent ‘e‘ a special note when it ends a verse. This ‘e‘ does not count in the flow of a verse whenever it is followed by another vowel.
When one understands the principles of French declamation, it is not difficult to correctly execute the prosody in this language. A non-native speaker of French would do well to practice declamation for some time under the guidance of a knowledgeable French person.
One will always make a mistake in French prosody if one lingers too long on a syllable that does not reveal the sense of what is being recited or does not hint at it.
One more observation: in the verses of other nations, poets symmetrically distribute long and short syllables, resulting in what are termed iambic verses, dactylic verses, trochaic verses, spondaic verses… However, this is not the case in French versification. In this language, each verse has its own particular movement that the composer should pre-label beforehand by marking it with the signs (— and v), paying close attention to the logical syllables, through which they will precisely find the true movement of each verse. This method is highly effective, and we recommend it to all composers who wish to try to write in this language.
Composers are often called upon to work in three or four different languages. These languages typically include Italian, French, German, and Latin for church music. It is necessary to become familiar with each of them and study their prosody before setting them to music. When unsure about the prosody of a language, one should seek advice from knowledgeable individuals, asking them to indicate the stressed and unstressed syllables in each verse using agreed-upon signs, which usually are (—) and (v).
On Grammatical Punctuation
in Relation to Music
It is necessary that there is an agreement between the poet and the composer concerning the punctuation. Music has its punctuation, as speech has its punctuation — without which it would be impossible to distinguish the phrases, the periods and one from the other. In the intimate marriage of poetry and music, it is necessary that the two arts are in accord on this point, without which it would frequently occur that we would not understand what is sung and the ignorance of the composer would be clear. Unfortunately this topic is never discussed. No one has ever demonstrated the various means that music possesses to satisfy poetry in this regard. Young composers who are unaware of these means are often forced to rely on their instincts, which often deceive them. We will now attempt to clarify this subject.
The Grammatical Period or Full Stop
Grammarians have only one sign to indicate the end of a complete phrase that is independent of other phrases or periods. Since a period can contain multiple phrases that do not demand a full stop this is the way that the label should be used. This single punctuation mark is indeed sufficient for written language; it can indicate the conclusion or final rest of all phrases or periods. However, the same does not apply to spoken or declaimed language, or language that is set to music. It would be amusing, for example, to hear directed at a singer or a musician the phrase, ‘Sir, you must express each grammatical period you encounter in a poem, always in the same way.’
The composer has many ways to indicate the repose that a full stop requires. It is sufficient that it is made in some manner. Thus, in our recitatives one practices frequently the following examples, which can serve according to the circumstances as the conclusion of a poetic phrase. (see Example 14)
Among these examples there are some that mark the repose more strongly than others. These are examples 1, 2, 8, 9, 10, 11, and 12 which serve to end a recitative. Whereas examples 3, 4, 5, 6 and 7 can indicate the completion of phrases within the flow of the discourse. There must be a difference between the full stop which terminates a recitative and the other full stops which separate the phrases of this same recitative. These full stops do not require (at least in music) the same force; and the reason is that the last repose ought to be the most pronounced because it completes them all; and the music makes and ought to make a distinction between the total repose and the other pauses which are merely parts that make up the whole.
Thus, to express the full stop in the body of the recitative, the composer will choose one of the 12 examples; but, to finish their recitative they will employ as a preference the examples 1, 2 or also 8, 9, 10, 11, 12. For this reason we will call them final cadences.
It can occur that a composer will need a final cadence during a recitative and that in this case they will preference one of these seven. This is necessary when the poet passes from one topic to a completely different topic, which is easily identified by looking at the meaning of the text. Finale cadences, especially examples 1 and 2, are used frequently enough during a recitative.
When a complete phrase ends with a question mark (?) or an exclamation mark (!), as often happens in lyric poetry, the composer can use as a preference examples 5, 6, and 7; mostly in the course of the recitative because at the end we always like to have a more decisive cadence such as 8, 9, 10, 11, 12. We will see later how we need to treat the full stop in airs and other measured pieces.
The Semi-Colon and The Colon
When the semi-colon (;) or the colon (:) form a complete sense that everyone would understand without reading on, the composer will indicate this by one of the following examples. (No 15)
When they do not form a complete sense and they would not be understood without the following text the composer can treat them a little more like a comma, and indicate this with only a short pause (one or two crotchets) and when stopping they can do so on a dissonant chord which similarly requires a continuation.
Furthermore, the phrases indicated by the semicolon and colon are and ought be short in lyric poetry.
The Question Mark (?)
The Composer, following the rules of proper declamation, must raise the voice at the ends of the lines or at the end of phrases that have a question mark. If the phrase is somewhat long (2, 3, or 4 lines), implying a complete sense or not requiring an answer, it should end with a consonant chord (see No. 17).
However, when the question mark appears after only a few syllables or words, the composer can pause on a dissonant chord, especially when a response is necessary. This always has an effect because it equally demands a continuation, a musical conclusion (see No. 18).
Exclamation Mark (!)
Exclamation points are abundant in poetry because the language of passions constantly demands them. They demand all sorts of modifications of the vocal line, with varying accents and nuances depending on their placement and circumstances. All of this, therefore, depends more on the person who is reciting than the composer. It must be rendered sometimes with a raised voice, and other times with a lower, almost suppressed voice. It is necessary to recite the phrase with a strong voice here, and with a weak voice there, etc.
The composer’s role here is to not contradict the actor and to avoid creating contradictions, such as making them sing in the low range when the passion demands the opposite.
The first rule for the composer is to put themselves in the actor’s shoes, to understand the situation in which the actor finds themselves, and ultimately, to have a keen sense to make in the music what the singer must authentically portray in their singing.
When the exclamation point is placed after a somewhat long and meaningful sentence, one should pause on a consonant chord as a cadence, for example (see No. 19).
But if the exclamation point concludes the narrative, a more decisive cadence is required, a final cadence (see No. 20).
A short exclamation of two, three, or four words, or of only a few syllables, can end with a more or less dissonant chord, depending on what it expresses, the situation in which it is placed, and also the qualities of the person who will declare it on stage.
Comma (,)
In the past, the comma was abused by being used excessively without necessity. Some poets still have this flaw. It should only solicit a short but necessary pause. The composer will indicate it with a brief pause (quarter note or an eighth note) (see No. 21), at least when the conclusion of the melodic phrase doesn’t already indicate this kind of repose, which would make writing a rest pointless (see our treatise on Melody for more details on this subject).
Ellipsis (…)
Ellipses also require a momentary pause. When they do not finish a thought, the pause can only be very short, and in this case, they are equivalent to a comma for the composer, who can place them under a consonant or dissonant chord. When they complete a thought, the pause can be slightly longer (two or three quarter notes, for example), and in this case, they should be placed mostly under a consonant chord. However, it is always the actor’s situation that should be consulted. The composer’s sentiment, tact, and judgment will guide them in expressing what needs to be expressed.
Parenthesis ( )
Parentheses are used to enclose one or more words that clarify a point in the sentence without being imperative to its meaning. An orator would detach these words, lowering or raising their voice. The composer should try to imitate this as much as possible by preceding and following the parentheses with a brief pause (for example, a sigh) (see No. 22).
We advise lyric poets to avoid parentheses in their verses as much as possible. To distinguish them from the rest of the sentence, they require nuances that the composer often cannot indicate.
It often happens that poets indicate parentheses with two commas, one preceding and the other following. For example, the three underlined words in the following phrase form a true parenthesis:
“A trente ans, tu diras, des plaisirs détrompé,
L’homme le plus heureux, c’est le plus occupé.”
Grammatical Accent
ORATORICAL AND LOGICAL
The grammatical accent represents the prominent or tonic syllable in a multi-syllabic word, regardless of the language. In Italian, words like grazia, superbia, antonio have the grammatical accent or tonic on the penultimate syllable, indicated by the ( — ) symbol. To convey this accent, the composer simply needs to adhere to the rules of prosody, which requires placing the accentuated syllable on a strong beat of the measure.
The oratorical or passionate accent pertains to the delivery of one or more words in a phrase, when they lend themselves to it, with a certain expressiveness or a particular sentiment, such as doubt, despair, joy, anger, etc., depending on the circumstances.
The oratorical accent depends solely on the Actor or Singer — on their taste, sentiment, ability, and genius. The same poetic creation can evoke different impressions on listeners, depending on the talent of the reciter. A scene performed by one actor can transport and captivate us, while the same scene delivered by another can leave us unaffected and devoid of emotion. The same applies to the execution of a musical piece by different performers.
The logical accent is found on a word in a sentence when that word contains the primary meaning. Without it, the sentence would mean almost nothing or be practically useless. A skilled actor emphasizes and highlights these words by placing emphasis on them and delivering them with a slightly elevated voice to capture the listeners’ attention. These words are not difficult to recognize and feel when carefully reading then text that needs to be set to music. For example, the underlined words in the following phrases require a logical accent:
- “. . . . . . . . . . . . . . Dans un age si tendre
“Quel éclaircissement en pouvez vous attendre ?
2. “Je vois que la sagesse elle mêmet’inspire.”
To enable the singer to sufficiently emphasize these words, the composer should give them a slightly longer duration and place them on slightly higher notes.
These three types of accents we have discussed are the essence of any declamation; without them, everything languishes, everything dies. Although the composer is often a victim of the performers’ execution, the success of their work depends on it. For this reason the composer must never be at all negligent concerning declamation: the more musical he makes it, the more he contributes to a meticulous and well-rendered performance, which will be deeply affecting.
It is needless to add that the logical accent should typically coincide with the grammatical accent or the tonic accent.
The Poem of the Opera, or
What the Italians Call the Libretto
We can only discuss opera poems here from a musical perspective, indicating what a composer should learn if they wish to pursue a dramatic career.
Opera poems are generally of two types. In some, everything is sung, while in others, speaking and singing alternate. The former type are common in Italy and at the Grand Opera in Paris, where dance is also added. The latter type are destined to supply the majority of European theatres.
The success of an opera often depends on the quality and interest of the poem, especially in France. A composer should possess sufficient literary knowledge to be able to choose their poem. If a composer lacks such knowledge, they should seek advice from trustworthy people who have no interest in appropriating the ideas of others. These individuals should also understand the dramatic stage and through their extensive experience know what is necessary to produce an effective work. Unfortunately, one can never be certain of a work’s success until it is performed, as experience has shown, regardless of the precautions taken to prevent failure.
How many times have we seen a work flop in Paris, despite the poem being chosen by a committee of distinguished literati and knowledgeable composers, despite its predicted success? … Conversely, how many times have poems that have been predicted to flop achieved resounding success? Therefore, there are no definitive rules to give in this regard, and the matter remains unclear even to the most astute. A poem read privately and the same poem performed publicly are two entirely different things. Only a certain refined and delicate instinct, possessed by only a few can be of any help. In society, one occasionally encounters such individuals. An opera poem should engage anyone who reads it. If it fails to produce this effect, if it does not arouse the musician’s curiosity, capture their imagination, or touch their heart, one should at least be cautious of it.
It is almost always the result of lucky chance when a composer, especially a new opera composer, finds themself an operatic poem suitable for the public.
There are dramatic subjects well suited to comedic plays, but which are unsuitable or disadvantageous for an operatic treatment. Since music is the soul of opera, it requires poems that facilitate the display of its particular effects and richness. It needs passions in motion, contrasts, a particular variety between the scenes and the acts, a grand spectacle, and everything that captures and occupies the listener’s imagination or excites their attention.
There are poems that interest more due to the art of their creation and construction than the essence of the action itself. Others have succeeded solely due to the talent of the actors. Some operas have received more applause for the music than for the poem. We have seen works where neither the poem nor the music had any merit; it was the talent of the actors, the set designers, the costume designers, or the caprice of the public that have given the work its vogue. But to our knowledge, not a single lyrical theatrical production has, in our time, achieved success solely by the quality and the beauty of its lyrical text.
Before setting a poem to music, the composer must read it repeatedly so that all its scenes and main tableaus appear vividly in their imagination. They should be able to easily envision the true situation of each character. This is the only way to discover any flaws in the poem, especially regarding music-related aspects (which we will address later) and to determine what is suitable for a simple or obligato recitative, an aria, a duet, a trio, an ensemble piece, or a chorus.
In the type of opera where everything is sung, it is the responsibility of the composer to handle all of these decisions about the division of the text since they have a better understanding of their art, its resources, and its means than the poet. The poet can often shift a musical piece or replace an aria with a recitative and vice versa. In poems where singing and speaking alternate, it frequently occurs that the poet puts in prose what should be sung or versifies what should be spoken. In all such cases, it is the composer’s responsibility to guide the poet and request changes that both parties must agree upon for the common interest. The French composers like Grétry, D’Alayrac, Méhul, Boieldieu, and others have never set a poem to music without demanding these kinds of improvements, which were essential for the success that their music achieved.
We will now present rules for correcting these defects.
I
The least significant part of a poem, where no genuine passion is at stake, which serves only to connect scenes or to introduce and clarify events, and which can only be recited indifferently, should be composed as simple recitative in operas where everything is sung. In operas where singing and speaking alternate, it should be in prose. For instance, if a character who is yet unknown to the audience is about to appear on stage, to capture attention and invoke interest, the poet should introduce them. Their qualities, status, and approximate role in the play should be mentioned, etc. If the entire discourse is of a nature that can only be reasonably declaimed with calmness and composure, it should be presented as simple recitative, or it should be spoken in the case of operas where not everything is sung.
II
There are parts of a lyric poem where a character is unsure of which course of action to take, where they transition between different plans, where various emotions stir them successively or simultaneously, or when they provide an interesting and passionate description that presents successive images and different ideas. In these parts, which cannot be declaimed with detachment or indifference and which often require intervals of repose, the composer should decide to render the text in recitative obligé in both sorts of operas.
III
Everything that is most interesting in an opera poem where singing and speaking alternate must be set to music without exception. It is totally unforgivable for either the composer or the poet to place a musical piece outside of the action, for example, where an important event has just concluded. In such cases, a piece of music will only bore the audience because it slows down the pace of the action unnecessarily and dampens its intensity. Therefore, it is the action itself that should be set to music.
IV
When multiple actors are on stage, it is always more advantageous to have them sing with each other or together rather than isolating one singer, unless the situation requires it, which is very rare. In such circumstances it is better to create an ensemble piece, a chorus, or an aria that is either accompanied or interwoven with other voices, rather than singing alone, which does not usually have a good effect.
V
An opera without ensemble pieces and choruses is almost always boring and does not sufficiently engage the audience’s interest and emotions. If the plot of the poem allows for their inclusion, the composer should demand them from the poet. If ensemble and chorus pieces are unable to be naturally integrated into the dramatic action, it is better to reserve the subject for a play where music is not an integral aspect.
VI
In a poem where everything must be sung, it is necessary to occasionally introduce simple recitatives; otherwise, the listeners will be fatigued by an uninterrupted sequence of measured and rhythmic pieces.
In operas where singing and speaking alternate, this kind of musical narrative would be completely out of place. Its content should be left for the non-sung prose.
The best opera poems, guided by the three unities (unity of time, place, and action — though place and action are not always observed in France), flow authentically in the rapidity of their action, their dramatic interest, their style, their variety of characters, and they are in all respects are models, have been written in France. If there are any that are not well-structured or suitable for music, or if they do not enhance this art, it can be forgiven considering that the nation has been much more literary than musical.
Italians, being more attuned to music and particularly to melodic singing rather than declamatory singing and literature, have often sacrificed poetry for music in their librettos. They have always sought subjects and situations to showcase music and the talents of composers. However, their poems are often bad frameworks that are not given much attention. As a result, a significant portion of their operas is likened to concerts accompanied by set designs and costumes.
The German people are particularly sensitive to harmony and passionate about music but they do not have good operas because of their poems. It is a different case with Don Giovanni and The Marriage of Figaro by Mozart which are based on Italian librettos and with subjects drawn from the French repertoire. The librettos of The Abduction from the Seraglio, The Magic Flute (music by Mozart), Doctor and Apothecary (music by Dittersdorf), and Der Freischütz (music by Weber) cannot be considered as models, even though these works enjoyed considerable popularity for a certain period, thanks to the music. German poets, who have indeed written very interesting comedies and tragedies, mistakenly believe that music is only suitable for portraying bizarre and extravagant situations where magic, mystery, and numerous similar follies predominate. It is time to dispel this misconception and engrave the following observations in our memory:
1. Any good comedy or tragedy that has a true underlying interest to captivate the audience can serve as the basis for an opera.
2. To transform such a comedy or tragedy into a suitable opera subject, it is necessary to tighten the action and plot by removing unnecessary scenes and shortening the dialogues and monologues as much as is possible.
3. It is necessary that all the most interesting of these be set to music rather than presented as dialogue, as we have already pointed out.
4. The poet should incorporate ensemble pieces and choruses into the libretto whenever possible.
5. Scenes in which an actor is alone but in an interesting situation should be composed as an obligatory recitative followed by an aria.
6. Scenes involving multiple actors should more often than not conclude with an ensemble piece, and the final scenes of an important act should all be set to music to create a remarkable and passionate finale, in which the majority of the singers should be involved.
On Lyrical Versification in Relation to Music
The ancient Greeks did not know poetry without music. Everything was sung, even the epic poems. That is why we still versify everything that is meant to be sung today. However, it is not widely known that well-crafted prose, with short phrases and periods, is very advantageous for music and can be better than non-lyrical verse. The texts sung in Catholic temples are nothing but prose, and prose on which such masterpieces have been composed.
If verse is not absolutely necessary for music, rhyme, all the more, should be even less necessary. The ancient Greeks and Romans were not acquainted with rhyme, or at least avoided using it.
The thing that is most disadvantageous for music, especially for measured songs, are long phrases and periods.
It is crucial for poets as well as musicians to clarify this point. Let’s consider a four-line Alexandrine phrase or sentence, for example:
“But after the farewells that I had experienced,
“All the transports of such tender sorrow,
“I know he did not owe it to me to say
“The joy and transports that were explained to me.”
If these verses were intended for recitative, there would be no issue. However, for measured singing, for an aria, this sentence would be too long. Here is the reason: Properly declaiming these verses takes approximately ten seconds, but to sing them with dignity in a measured tempo, it would take about thirty seconds. In terms of time, this duration is equivalent to a twelve-line sentence of the same length when spoken or declaimed. A sentence of this duration would be unbearable. Even if shortened by a third, it would still be too long. Since measured singing triples or at least doubles the time required to express lyrical phrases, poets must invent them as short as possible.
Here are some rules on this subject:
1
Lyrical phrases for measured singing should not exceed two lines when the lines comprise of eight, ten, or twelve syllables. Shorter phrases never pose any issues. However, in recitative, one can occasionally introduce four lines of twelve, ten, or eight syllables. The reason for this is that in France the eight-syllable verses are already a bit too long for measured pieces.
2
Short lines of four, five, or six syllables are highly advantageous for singing, and one can use four or even six of them for a musical period.
3
The combination of verses of different lengths can be equally fruitful for singing. Various combinations can be made as long as the total number of syllables in a member of a period is not over twenty-four. And such larger numbers of syllables should only be used rarely.
Opera poets should consult with their musicians before turning their narrative outlines into verse, especially in those operas where there is both singing and speaking. However, this recommendation assumes that the musicians possess the talent and, most importantly, the necessary tact to provide the poets with helpful advice.
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These days we often hear the assertion that beautiful poetry can offer nothing to music. What is the foundation of this strange and barbarous assertion that brings dishonor to the fine arts?
We can easily conceive the possibility of creating excellent music based on mediocre verses. We also understand the difficulty of writing good poetry to fit music that has already been composed, especially for a bad poet. However, what we cannot comprehend is the reason that would prevent one from creating music, even the best possible music, on beautiful poetry, provided that the poem in question varies its verses and avoids long phrases. Undoubtedly, tragedies by Racine or Corneille, L’Henriade by Voltaire, or Tasso’s Jerusalem Delivered, etc., where thousands of verses of the same length can be found, often with sentence that are too long to be compatible with music, are not productions on which a composer could reasonably attempt. But beautiful poetry is not limited to these works alone.
FN: A libretto for an opera that takes one hour to read would last for approximately three hours to be performed on stage, considering the necessary breaks for the actors.
Everything that can be spoken, recited, or declaimed can also be sung and therefore set to music; this is a fact that no one is unaware of. Good poetry, as well as bad poetry, is composed of the same elements: words, lines types, phrases, and periods. The musician finds their ideas from these elements, and it is easy to prove that it is not easier or more difficult to create on either better or on worse lyrics. Or on elevated and noble subjects compared to frivolous and vulgar topics.
Beautiful English poetry was used in Handel’s most esteemed oratorios. Marcello composed on the biblical psalms, and Metastasio’s works wonderfully inspired the most prestigious Italian composers for their operas. Graun skillfully interpreted Ramler’s excellent German verses in his work, “The Death of Jesus.” Gluck in Quinault’s “Armide”, and Piccini in Marmontel’s “Didon” matched the level of their poets. Finally, the sublime choruses of Racine’s “Esther” and “Athalie” await a musical genius to render them in music that reaches the great heights of their author.
It is claimed that the audience does not listen to the words in our operas: That is there loss! However, we believe that it is the audience who is being wronged; it is difficult to listen to words when you can’t hear them on account of the embellishments of the singers and the noise of the instruments, etc. If this is the situation then the audience should be entirely indifferent to whether the music is composed on good or bad poetry.
We can see that operas today are merely fashionable objects. They appear only to be replaced by others. Often the music is basically a concert accompanied by voices, and the only goal is frivolous entertainment. It is clear that beautiful poetry is not meant for such productions.
However, other occasions should require beautiful poetry. Should we not use it in psalms, cantatas, and for sacred music? The fact that composers such as Mozart, Haydn, Marcello, Graun, and Handel animated beautiful poetry through their genius is sufficient proof that it is suitable to be set to music.
Beautiful poetry is still employed to instruct us, to immortalize memorable events, to circulate sublime ideas, and to illustrate and enshrine great deeds… things that are rarely encountered in our lyric spectacles, which have been established mostly to amuse those who have nothing better to do with their time than to attend them.
It is distressing for poetry and it is painful for music, that in France, only one genre of music is recognized and appreciated… Opera.
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This ends the first book. (c) Translation copyright of Adrians Ozols, 2023