Wagner has shown in his
music-dramas, and Hey in his vocal method, that by means of a proper
division of syllables and correct articulation, the harshness of
consonants can be toned down as much as is desirable. On the
desirability and effectiveness of strong consonants Liszt has some
admirable remarks in speaking of the Polish language, which is noted
for its melodious beauty, although it bristles with consonants: "The
harshness of a language," he says, "is by no means always conditioned
by the excessive number of consonants, but rather by the way in which
they are united; one might almost say that the weak, cold color of
some languages is due to the lack of characteristic and strongly
accented sounds. It is only an unharmonious combination of dissimilar
consonants that offends a refined ear. The frequent return of certain
well-united consonants gives shading, rhythm, and vigor to language;
whereas the predominance of vowels produces a certain pallor in the
coloration, which needs the contrast of darker tints."
Those who are always ready to insist on the superiority of the Italian
language for song, would do well to ponder these remarks of Liszt, who
knew what he was talking about, as he spoke a number of modern
languages fluently.
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