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Heine was not jesting when he said it was a fairy tale from the days of old; he was following, it seems, Schreiber's saga, the first sentence of which reads as follows: "In alten Zeiten liess sich manchmal auf dem Lureloy um die Abenddämmerung und beym Mondschein eine Jungfrau sehen, die mit so anmuthiger Stimme sang, dass alle, die es hörten, davon bezaubert wurden."
Concerning the breath and much more besides there is so much that is excellent in Oscar Guttmann's "Gymnastik der Stimme" that I can do no better than to refer to it and recommend it strongly to the attention of all earnest students. How do I breathe? Very short of breath by nature, my mother had to keep me as a little child almost sitting upright in bed.
'Wie schon, wie ruhrend! Ach, die Schottischen Lieder, sie haben so viel Stimmung! Aber die gnadige Frau hat eine WUNDERBARE Stimme; die gnadige Frau ist wirklich eine Kunstlerin, aber wirklich! She was dilated and brilliant, like a flower in the morning sun. She felt Birkin looking at her, as if he were jealous of her, and her breasts thrilled, her veins were all golden.
Very little attention was paid, at any rate, in the vocal instruction of that day, to the mechanical actions of breath-control; the great majority of teachers probably had never heard of this principle. As a definite principle of Vocal Science, breath-control was first formulated by Dr. Mandl, in his Die Gesundheitslehre der Stimme, Brunswick, 1876.
The last exponent of the old traditions was Francesco Lamperti, who retired from active teaching in 1876. Yet even Lamperti finally yielded, in theory at least, to the mechanical idea. When this work was about ready for the press, Lamperti read Dr. Mandl's Gesundheitslehre der Stimme, containing the first definite statement of the opposed-muscular-action theory of breath-control.
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