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By Satkari Mookerjee
An Exposition of the Philosophy of severe Realism as Expounded by means of the college of Dignaga
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The accompanied recitative is indistinguishable from an air, except that the singer will perhaps line in a phrase or word here and there to mark a point in the narrative. The recitative proper requires freedom of delivery—by that I do not mean the singer should be permitted to run amuck. No ! the music must keep its shape and its rhythm as far as the bars are concerned, but within the bar freedom is allowed, in order to declaim with true dramatic sense. When a composer writes a recitative he does little more than indicate what he requires of the singer.
The elements of good oratorio singing are these : a strict regard for the composer's music and an intense belief in the divine truth of the message or story to be conveyed to the audience. In the older oratorios a few words "oft repeated" served as the lyric for a solo, but in spite of this literary non-inventiveness and the monotony of 44 The Common Sense of Singing the repetitions, it is possible to make this mannered music sound as if it were the only possible way to set the words ; indeed, it should be made to sound inevitable.
I do not think so, where truth of declamation is concerned. But it may be said, the style is Oratorio 45 different. Now what is meant by this off-hand remark? Is it postulated that the religious character of oratorio calls for a super-imposed ecclesiastical manner and demeanour? If so, I cannot accept this point of view. Nothing has done more to depopularize oratorio in Great Britain than the smugness of the solo-performers. We have grown weary of the seraphic sopranos and lachrymose contraltos gazing out into the concert hall as if in a trance or as if looking for the lost horizon.