“An art song is like a diamond cut with strength into many facets, and it is our duty to polish the infinite details.” – Elly Ameling, soprano
The great French Impressionist composer Claude Debussy once wrote, “Works of art make rules; rules do not make works of art.” On the other hand, Elly Ameling has gifted the world with rules and guidelines for recital performance in her web series, “Some Thoughts on the Heart of Art Song.”
Freshmen students often ask, “What exactly is an art song?” Traditionally, an art song is a poem set for voice and piano in a classical style. Of course, there are more nuances to completely answer this question, and Monsieur Debussy calls upon good taste to define art song with his turn of phrase: work of art. Art songs are more than simply songs composed for voice and piano—they are works of art that compile the standard vocal literature for students and professional singers worldwide.
One of America’s foremost composers of art song and Pulitzer Prize winner, Ned Rorem introduced his concept of art song in his liner notes for But Yesterday Is Not Today—The American Art Song 1927–1972, recorded by New World Records. Rorem’s survey begins with the question of the hour:
What, you may well ask, is an art song? I myself had composed dozens before ever hearing the term, and suddenly realized—like the Molière character who learns he’s been speaking prose all his life— how clever I’d been. Yet then as now I mistrusted the term, found it pompous, never used it. For “art song” is not a description but an opinion, defensively American, coined to distinguish the genre—in kind if not in quality—from pop song.
The genre may be defined as the musical setting of a lyric poem for one voice with piano accompaniment. The setting is by a specific American composer as opposed to anonymous or collective authorship; is self-contained as opposed, say, to an aria, which is part of a whole; and is strictly as opposed to approximately notated like so-called popular songs.… But the distinction is fading between recital songs and those performed elsewhere: “good song” and “bad song” are logically the clearest distinguishing terms…assuming that readers now recognize the species.
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As students learn to “recognize the species,” they are learning their art form. Classical singing is a process that requires care and cultivation. There is a certain magic in the hall when a singer and pianist capture the “heart” of an art song. How do we create magic from the notes on the page? Fortunately, for those of us who step onto recital stages, there is a resource online that shares the tools necessary for making music with your heart and soul.
The marvelous soprano Elly Ameling created her unique series of YouTube videos in 2020 from her home in the Netherlands titled, “Some Thoughts on the Heart of Art Song.” After a stellar career as a recitalist on every major concert stage in the world, she crafted 14 lessons on interpreting art song. Each video is approximately 10 minutes long and includes a recording from her discography to illustrate the topic of discussion. Her lessons are simultaneously direct yet endearing, stern yet generous. Ameling loves the repertoire and calls upon the next generation of singers to prepare, imagine, and sing art songs with a specific list of techniques.
Ameling’s lessons beautifully offer “how-to”s for learning music and guidelines for good, artistic taste. There is no substitute for face-to-face lessons with a teacher/coach who knows your voice. These videos provide directions for singers preparing new repertoire for performance. Elly Ameling is sure to inspire any singer and music lover who tunes in. Professor Carolyn Hart, of Wheaton College, assisted Ms. Ameling in the creation of this series.
More information can be found at sparksandwirycries.org.
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An overview and some quote highlights from “Some Thoughts on the Heart of Art Song” by Elly Ameling
Chapter 1: Introduction
“These thoughts strive to be an inspiration for your own thinking: think before you sing. One by one I will try to shed some light on the many facets of Art Song . . .”
Chapter 2: Imagination
Chapter 3: Research
Chapter 4: Message
Chapter 5: Legato
“A legato line moves forward because you know where you want the phrase to go . . . At the beginning of a phrase you must have a clear idea where it ends.”
Chapter 6: Diction
Chapter 7: Vowels
Chapter 8a: Tempo
Chapter 8b: Colours
Chapter 9: Volume
“Nothing will bore your listeners more than constant loud singing. Never forte for forte’s sake. Only for your expression of the emotions.”
Chapter 10: Vibrato
“But then what is beautiful? Tastes differ. I always opt for the most natural sound—the sound that belongs to just you.”
Chapter 11a: Breath
Chapter 11b: Stage Fright
Chapter 12: Our Pianist
Chapter 13: Some Philosophy
Chapter 14: To Finish: The Future of Art Song
“Art Song is alive and kicking!”
