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Inthe course of journeys and interviews extending over many years I have gathered much experience from choirmasters, and have watched and noted their plans. Here follow some of the results of this work. The churches described are some of them small, and but little known. This fact, however, does not affect the value of the experience. The highest degree of credit is due to the choirmaster who obtains good results from poor materials, and this book is especially intended to help those who have to make the best of ordinary opportunities.
LEEDS PARISH CHURCH.
This church has long been noted for its music, which is sung in cathedral style. There are about thirty boys, whose voices, even up to A, are round and clear, and throughout are big, true, and rich. Notable features of the style of the choir under Dr. Creser, are the longdim. cadences in responses, and the independence which enables the singers to go on without the organ, if the expression suggests it. At the rehearsal in the parochial room Dr. Creser sits at the grand piano with the boys in their cantoris and decani places on each side of him just as in church. The boys rehearse five days a week after evensong, and the juniors have an additional practice. After Saturday evensong there is a full practice with the men. All the boys are trebles. Yorkshire is about the only district in England which produces adult male altos. The boys are chiefly promoted from district churches. They live at their homes, and receivea free education—the seniors in the Leeds middle-class school, and the juniors in the parish church school. There is also a small salary paid quarterly, and when a boy leaves he receives from £15 to £25 if an ordinary chorister, and £50 if a good solo boy. Fines are imposed by the precentor for misbehaviour or mischievous tricks in church or precincts, but not for mistakes in singing. Dr. Creser teaches sight-singing on the lines of Curwen's "How to Read Music." The boys use the old notation, but have learnt it through Tonic Sol-fa, using the course entitled "Crotchets and Quavers." Occasionally the whole rehearsal consists of sol-faing. In every difficulty as to key relationship the Sol-fa makes matters clear. Dr. Creser was first led to use Tonic Sol-fa by noticing how easy it made the minor mode. The junior boys are always taught by Dr. Creser. Until the voices settle he would on no account delegate them to an assistant. The two chief rules of voice-training are to forbid forcing the chest register abovea music staff with a treble clef and a whole note "E" on the first line.[Listen]and to begin scales at the top. Flattening takes place occasionally, but it is nearly always the fault of the congregation, who drag the pitch down. The arrangement of the music-library here is a model of order.
ST. PETER'S, EATON SQUARE, LONDON.
Here, under the direction of Mr. de Manby Sergison, a very fine Anglican service is maintained. There are twenty boys, and a few probationers. The boys have an hour's practice every day, and sing the Psalms and a hymn at the daily choral service. Formerly a choir boarding-school was kept up, but this was abolished, being found to be too expensive. Now the boys are selected from schools in and near the parish, and Mr. Sergison finds the ordinary London boy equal to all the demands of the church. When the choir-school was given up he was able within a month to prepare an entirely new set of boys, so proficient that the congregation scarcely noticed a difference. The vocal practice of the boys includes "Concone's Exercises," and their phrasing in the service music is very good. The fullchoir sings on Sundays and Saints' Days, and their rehearsal takes place once a week in the church, Mr. Sergison being at the organ. In the chapter on the management of choir-boys I have quoted some wise remarks by Mr. Sergison, which explain his success as a choirmaster.
ST. MARK'S COLLEGE, CHELSEA.
This is a Training College for schoolmasters, which has long been noted for its musical services. Mr. Owen Breden, the present organist and choirmaster, is the successor of Dr. Hullah, Mr. May, and the Rev. F. Helmore. The choir-boys, who number 26, only sing on Sundays. They are drawn from the practicing school, which contains 800 boys. They enter the choir at nine years of age, and there are always six or eight probationers, who attend the practices and are ready to fill vacancies. Thus a good style of singing is maintained. People say to Mr. Breden, "There is no telling one voice from another, your boys are so much alike." At the bi-weekly practice with Mr. Breden the boys have voice-training. They sing tolaand sol-fa syllables scales gradually rising. They are not trained above G, but if a boy has a good G he can always go higher. The boys can all read from the Sol-fa modulator, and Mr. Breden gives them ear-tests. The alto part is taken entirely by boys at St. Mark's. The choir-boys, past and present, perform an operetta in costume every Christmas. Anthems like Macfarren's "The Lord is my Shepherd," Bennett's "God is a Spirit," Goss's "O Saviour of the world," &c., are sung unaccompanied. In fact, whenever the organ part merely duplicates the voices, they take the opportunity at St. Mark's to enjoy the pure chording of human voices.
ST. MARY'S CHURCH, BERLIN.
My friend, Herr Th. Krause, the organist and choirmaster of this church, allowed me to attend a rehearsal of the eighty boys and twenty men who form his fine choir. The large number of boys is explained by the fact that nearly half of them are altos.The motet of the Lutheran church is invariably unaccompanied. It closely resembles in form our anthem, but the German Protestants look upon thea capellastyle, which continues the tradition of the Sistine Chapel at Rome, as the purest and highest in church music. On no account would they use the organ to accompany a motet. This gives rise to elaborate compositions, often like Mendelssohn's "Judge me, O God," in eight parts. By treating the boys and men as separate choirs, each in four parts, and getting responses between them, a variety of tone colour, which is almost orchestral, is obtained; and when both choirs unite in solid eight-part harmony, the result is imposing. As the Germans are usually not sight-singers, the labour involved in learning these motets is immense. The higher register of the boys is well trained. They sing up to B flat without effort, and with purest tone. The same may be said of the Dom Choir, for which Mendelssohn wrote his motets. At my last visit to Leipzig, I carried an introduction to Dr. Rust, trainer of the Thomas Church choir, but I was there just after Whitsuntide, when the yearly shifting of classes had just taken place, and Dr. Rust, who wished me to hear his boys at their best, asked me not to come to a rehearsal. Speaking generally, the voices of German boys are thinner than those of English boys, more like fifes than flutes.
ST. CLEMENT DANES, STRAND.
The choirmaster here, Mr. F. J. Knapp, is also master of the parish day school. Here he insists on quiet singing, and stops coarseness directly. The boys are taught on the Tonic Sol-fa system, which, says Mr. Knapp, has alone enabled him to produce his results. Some time ago at St. Stephens, Walworth, he was called upon to produce a choir in a week, and he did this, by nightly rehearsals, to the satisfaction of everyone. Complete oratorios, with band, were frequently given by this choir of sol-faists. At St. Clement Danes he had to produce a choir in five days, and here again he succeeded by the use of Tonic Sol-fa. "Our choir-boys," he says, "can now sing at sight almostanything I put before them. We never have more than two or three practices (one only, full) for the most difficult anthems we do. There is an anthem every Sunday, a choral communion once a month, offertory sentences on alternate Sundays, cantatas and oratorios at Festivals." Mr. Knapp adopts the useful plan of "tuning-up" his boys before the morning service. Flattening, when it occurs, is due, he considers, to damp weather, a cold church, &c. But he is rarely troubled with it. The boys' voice exercises are taken at the harmonium, first slow notes to "koo-ah," or to "oo-ay-ah-ee," or to a sentence containing consonants. This exercise is done both ascending and descending, but especially descending. He also uses the chromatic scale from B flat up to F:—A music staff with a treble clef on the left. Two quarter notes: B flat below the staff and F on the top line.[Listen]He tells the boys nothing about the registers, but watches constantly against shouting.
SALZUNGEN CHOIR.
This (Protestant) choir of men and boys is well-known in Germany, and not only sings at Salzungen, but occasionally makes tours, and gives concerts. Herr Mühlfeld, the trainer, tells me that he takes the boys from 11 years of age upwards, and that before entering the choir they have a fair knowledge of notes, and can sing at sight. The voices are examined on entry, low ones being put to sing alto, and high ones being put to sing soprano. The boys have two lessons of an hour each per week, in which they practise exercises,choräle, school songs, and church music. Flattening, according to Herr Mühlfeld, is due to (1) bad ear, (2) imperfect training, (3) fatigue of the voice. The boys are taught to listen to each note that they sing, and to make it blend with the instrument or the leading voice. In order to do this they must sing softly, and thus hear their neighbours' voices. The 3rd, 6th, 7th, and 8th tones of the scale are, says Herr Mühlfeld, often sung flat, and exercises should be specially given to secure the intonation of these sounds. The boys must also learn the intervals, and whenever they appear to be tired a pause must be made.
UPTON CROSS BOARD SCHOOL.
This is not a church, but a boys' school, from which a good many choristers are drawn, and where excellent results have been obtained. The boys have often won prizes in choral competitions. Mr. H. A. Donald, the headmaster, tells me that he examines the voices of the boys one by one in his own room, once a year. Those who can take G and A[Listen]sweetly and easily are put down as first trebles. Those who can go below C[Listen]are altos. The rest are second trebles. He finds that after a year a boy's voice will often have changed—a treble become an alto, or vice versa. In modulator practice, and as far as possible in pieces of music, he keeps the trebles above.[Listen]Below this they get coarse. He never gives on the modulator an ascending passage which begins below this G. One may leap up, and come down by step, but not ascend by step. He uses Mr. Proudman's "Voice-training Exercises" (J. Curwen & Sons) for first trebles, and his contralto exercises for contraltos. Coarseness he checks at once, and he silences boys whose voices are breaking.
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Howis the alto part, in a church choir consisting of males, to be sung? In our cathedrals this part has been given, ever since the Restoration, to adult men, generally with bass voices singing in their "thin" register. For this voice our composers of the English cathedral school wrote, carrying the part much lower than they would have done if they had been writing for women or boy-singers. For this voice, also, Handel wrote, and the listener at the Handel Festival cannot but feel the strength and resonance which the large number of men altos give to the harmony when the range of the part is low. The voice of the man alto, however, was never common, and is becoming less common than it was. It occupies a curious position, never having been recognised as a solo voice. I have heard of an exceptionally good man alto at Birmingham who was accustomed to sing songs at concerts, but this is an isolated case. The voice seems to have been generally confined to choral music.
This voice is entirely an English institution, unknown on the continent. Historians say that after the Restoration, when it was very difficult to obtain choir-boys, adult men learned to sing alto, and even low treble parts, in falsetto, in order to make harmony possible.
Let us concede at once that for music of the old cathedral school this voice is in place. The churches are, however, getting more and more eclectic, and are singing music from oratorios, cantatas, and masses that was composed for women altos, and is far too high in compass for men. We may admit that because the alto part lies so much upon the break into the thick or chestregister of boys, it is very difficult to get them to sing it well. The dilemma is that in parish churches, especially in country places, the adult male alto is not to be had, and the choice is between boy altos, and no altos at all.
There is no doubt, moreover, that the trouble of voice-management in boy altos can be conquered by watchfulness and care. At the present time there are, as the information I have collected shows, a number of very good cathedral and church choirs in which the alto part is being sustained by boys.
The following is from Mr. James Taylor, organist and choirmaster of New College, Oxford:—
"New College, Oxford,Dec.13, 1890.
"Dear Sir,—In reply to your letter, I can confidently recommend boy altos in parish or other choirs, provided they are carefully trained. We have introduced them into this choir for more than two years, and the experiment has fully come up to my expectations. We still retain two men altos in our choir, which now consists of the following:—Fourteen trebles, four boy altos, two men altos, four tenors, and four basses. I find boy altos very effective inmodernchurch music, such as Mendelssohn's anthems, &c., where the alto part is written much higher than is the case in the old cathedral music.
"Yours very truly,"James Taylor."
Dr. Garrett, organist of St. John's College, Cambridge, writes:—
"5, Park Side, Cambridge,Dec.12, 1890.
"Dear Mr. Curwen,—I have had boy altos only in my choir for some years. I introduced them of necessity in the first instance. The stipend of a lay clerk was too small to attract any other than a local candidate, and no suitable man was to be found. If I could have really first-class adult altos in my choir I should not think of using boys' voices. At the same time there are some advantages on the side of boys' voices.
"I. Unless the adult alto voice is really pure and good, and its possessor a skilled singer, it is too often unbearable.
"II. Under the most favourable conditions it is very rare, according to my experience, to find an alto voice retaining its best qualities after middle age.
"III. The alto voice is undoubtedly becoming rare.
"On the other side you have to consider:—
"I. The limitation of choice in music, as there is a good deal of 'cathedral music' in which the alto part is beyond the range of any boy's voice.
"II. A certain lack ofbrightnessin the upper part of such trios as those in 'By the waters of Babylon' (Boyce) 'The wilderness' (Goss), and many like movements.
"As regards the break question, the advantage, in my experience, is wholly on the boys' side. A well-trained boy will sing such a solo as 'O thou that tellest,' or such a passage as the following without letting his break be felt at all:
For Thou hast been my hope, hast been my hope.[Listen]
Thispassage,{*}which is from the anthem, 'Hear my crying,' by Weldon, I have heard sung by an adult alto, who broke badly between E flat and F. The effect was funny beyond description. In fact, if a boys' break is about C or D (3rd space or 4th line), and henotation[Listen]is never allowed to practise above that, there will be no question of break arising. My alto boys can get a good round G, and five out of the six can go up without break to C.notation[Listen]The advantage of this in chanting the Psalms is obvious. What can an adult alto be expected to do in a case where the reciting note is close to his break? These are considerations which may fairly be taken into account even when the decision is to be made betweenpossiblecourses; when thereisa choice. Inmany cases there is none. It must be (as you say) boy alto, or no alto. I am quite sure that careful training is all that is needed to make boy altos most efficient members of a choir. Or rather, I ought to say that careful selection and training are both needed. To take a young boy as an alto because he happens to have three or four raucous notes from, say, B flat to E flatnotation[Listen]while he has a bad break between E flatnotation[Listen]and F is, of course, to court failure. I prefer taking a boy whose break lies higher, and training his voice downwards. If, as a probationer, he can get a fairly good round B naturalnotation[Listen]or B flat; lower notes can certainly be produced as he grows older.]
"Yours very truly,"George Garrett."
{*}I havetransposed the passage from the alto clef.—J. S. C.
A remark may be interposed here that from a physiological point of view we must expect voices of different pitch in boys, just as in girls, women, and men. Boys differ in height, size, and in the pitch of the speaking voice, which is a sure guide to the pitch of the singing voice. There is thus no physiological ground for supposing all boys to be trebles.
The following letter is from the Rev. W. E. Dickson, Precentor of Ely:—
"The College, Ely,October 30th, 1890.
"Dear Sir,—I have much pleasure in replying to your note. If I resolved to do so in a few words I should be obliged to say that seldom indeed do I hear boy altos sing with sweet voices and true intonation, either in my own country, or in those foreign countries in which I am in the habit of taking my holidays.
"But I should like to be allowed to explain that, in my opinion, the coarseness (at any rate) of boy-altos in English choirs is due to mismanagement by the choirmaster. His usual plan is to turn over to the alto part boys who are losing their upper notes by the natural failure of their soprano voices.This saves trouble, for such boys probably read music well enough, and they are simply told to 'sing alto,' and are left to do so without further training, until they can croak out no more ugly noises. Surely this is quite a mistake. Am I not right in maintaining that a perfect choir should consist of
well balanced as to numbers, and all singing with pure natural quality? If I am, then it follows that the second trebles should be precisely equal to the firsts in number and strength, and should include boys of various ages, as carefully selected and as assiduously trained as the others. I cannot but think—and, indeed, I perfectly well know—that where this has been done by a skilful teacher, whose heart is in his work, boy altos have been made to sing with sweetness and accuracy.
"You will probably agree with me—though this is quite by the way—that secular music should be largely used by such a teacher. The part-songs of Mendelssohn, for instance, should be trolled out by the two sets of boys, who may even interchange their parts at practice with the best results. But of course this is said only in reference to choirs of a high class.
"I do not deny that even the best teaching and the best management will not secure quite the sametimbrewhich you get in choirs with falsetti in the alto part. A certain silvery sweetness is obtained from these voices to which our English ears have become accustomed, and which we should miss if boys, however well-trained, took their places. In the Preces, Versicles, Litany, &c., of the English Choral Service, we should be conscious of a loss. In cathedrals, too, the complete shelving of some or even many compositions, favourites by long association, if not by intrinsic merit, would be inevitable. But I am unable to doubt for a moment that when the change had been made, and time had been given for the new order of things, under a thoroughly competent musician, we should not regret it.
"At Ely we have ten men in daily attendance; fourteenon Sundays. We keep twenty boys in training. If this vocal body were thus distributed:—
we should certainly be stronger and healthier in tone and quality than we are now, with a disproportionate number of trebles, thus:—
As to rustic choirs in village churches, I fear the case is hopeless, and I myself should be glad to see editions of well-known hymn-tunes and chants in three parts only—treble, tenor, and bass. Handel wrote some truly grand choruses in three parts in his 'Chandos Anthems.' But his tenor part is not for every-day voices!
"Believe me, truly yours,"W. E. Dickson."
The following, from Dr. Haydn Keeton, organist of Peterborough Cathedral, is against boy altos:—
"Thorpe Road, Peterborough,December 12th, 1890.
"Dear Sir,—I have had about eighteen years' experience with alto boys, and although I have had some exceedingly good ones, one or two as good as it is possible, I think, to have, yet I must say that, in my opinion, it is a bad system to substitute boys for men, especially in cathedral music. The reason why the change was made here was that about the year 1872 three of our men altos were failing, and I happened to have three boys with good low voices, who took alto well. In consenting to this change I had no idea of its being a permanent one, but owing to the agricultural depression our Chapter have been quite prevented doing what they would like to do with the choir. The general effect of the change has been this—that I have been always weak in trebles. We are limited to Peterborough for our choristers, and, as a rule, there is not one boy in a hundred who knows even his notes when he enters thechoir. It takes from eighteen months to two years for a boy to learn his work, and it is not until a boy is at least twelve that one can turn him into an alto. The result is that four of my senior boys have to be turned into altos, and I am left with a preponderance of young, inexperienced boys as trebles. At the present time I have twelve trebles, eight of whom are quite young.
"In addition, see what extra work is involved in teaching the boys to sing alto. Some boys do not take to alto very easily, and the extra work given to the altos means that quantity taken from the trebles. I am unable, in consequence, to give the necessary time to the elementary work that one ought to give. We can only get one hour's practice in the day, owing to the boys going to school.
"Then, again, as to tone. The tone of a choir with men altos, if they are at all fairly good, is so much superior to one with boy altos. In cathedral music so many anthems and services have trios for A.T.B. There is not one boy in a thousand who can sing the trio in 'O where shall wisdom' (Boyce) with a tenor and bass effectively. And how many there are similar to that!
"I do not see how boys could work at all in ordinary parish choirs, for here there are not the opportunities of teaching boys to read well at sight. It is only by daily practice that one can make anything of boys.
"Yours faithfully,"H. Keeton."
Dr. Frank Bates, organist of Norwich Cathedral, has favoured me with a copy of a paper on the boy's voice, in which he says:—
"The compass of a boy's voice when properly developed is from
C to A B♭ or C[Listen]
The chest or lower register extends from
C to C or D[Listen]
The head or upper register extends from
C or D to B♭ or C[Listen]
notation[Listen]
No fixed compass can possibly be given to the different registers, as the older a boy becomes the lower the change occurs; the head register often being used as low down as A."
In a letter to me Dr. Bates says:—
"I quite think that, for ordinary parish church services, the effect of boy altos, if properly taught, is all that one can desire."
In reply to my remark that the break comes in so awkwardly for boy altos, Dr. Bates says:—
"I fail to understand the reason you quote for the non-usage of boy altos. There is no change whatever in a boy's voice,in its normal state, untilD or C[Listen]is reached. If the change is made lower down all the brilliancy is taken out of a boy's voice. As a boy gets older he uses the upper register much lower down. I have known boys at the age of eighteen with lovely top notes but very poor chest register. In such cases, when a boy's top register commences atG[Listen]I can quite understand the difficulty."
There is evidently some conflict of nomenclature here, as the limits of the registers as given by Dr. Bates differ considerably from those which are usual. I am glad to learn that Dr. Bates is writing a book on "The Voices of Boys," which will no doubt clear up the subject. In the paper before me he recommends practice of the scales to such syllables as La, Fa,Ta, Pa, in order to bring the tone well to the front of the mouth, and reinforce it by means of the soft upper palate. He recommends the teacher to train the boys to use the upper register by making them sing over and over again,very softly, the following notes:—
Chest Head Ah....[Listen]
Here again the transition seems to me to be taken much too high.
Mr. Frank Sharp, of Dundee, trainer of the celebrated children's choir, which has sung the treble and alto parts, both solos and choruses, ofMessiah, St. Paul, and many cantatas, writes to me:—
"In part-singing where there are boy trebles, the adult male alto voice has its charms. The contrast in quality between the open tone of the boys' voices and the condensed, sometimes squeaky sweetness of the man alto does not affect the blending, and helps the distinctness of parts. Considering the growing scarcity of this latter voice, why not use boy altos? They can be made as effective as ordinary women altos, but they are as short-lived and need more attention than the boy trebles. Their chief drawback is a tendency to produce tone without the least attention to quality or effect save that of noise. Nevertheless, there is nothing to hinder boy altos doing all that is necessary, or, indeed, all that can be done by the adult male alto. I have trained boys to sing alto inMessiah,St. Paul, and equally trying music, during the past twenty years, and anyone else who keeps the girl's alto voice before him as a model can do the same. The boy alto voice may be said to have a husk and a kernel: the one strident, harsh, and overpowering; the other sweet, and, with use, rich and round. The average healthy boy, with his exuberant love of noise, will naturally give the husk, but the skilful voice-trainer will only accept the kernel, evolved from right register,goodtimbre, and proper production. Seeing and hearing a process in voice-training is, however, more satisfactory than much writing and the reading thereof."
Mr. W. W. Pearson, master of a village school in Norfolk, who is well-known by his excellent part-songs, writes to me:—
"I succeed very well in getting boys to sing alto because I always use a large number of exercises in two parts, making each division of the class in turn take the lower part. I do not choose boys for altos on account of age. That, in my opinion, has nothing to do with it. I choose them by quality of voice. There is no break in the voice of the natural alto between—G and C[Listen]I find altos out generally when they are novices, by hearing them trying to sing with the others, and dropping down an octave in high passages."
The following interesting notes are by Mr. W. Critchley, organist, choirmaster, and schoolmaster in the village of Hurst, near Reading:—
"I do not choose the elder boys as altos, as I find that treble boys, as a rule, are at their very best just before the change of voice. And moreover, when that change begins, the voice is so uncertain in its intonation that if the boy were put to sing alto he would be certain to drag the others down. At present I have one or two boys with round, mellow voices, who are very effective. Unfortunately, most of the alto parts in hymn-tunes and chants hover about the place where the break in the voice occurs, and it requires a lot of practice to conquer the difficulty. As a rule, I get the alto boys to sing in the lower register. It is very seldom they get a note which they cannot take in this register, so I train it up a little, thus—
KEYS B to F♯. d_1 t_2 l_2 t_2 d_1 r_1 m_1[Listen]
I do not see any other way of getting over the uncertainty in the boy alto voice. It is merely a matter of time and trouble."
Mr. J. C. E. Taylor, choirmaster of St. Mary's, Penzance, and head-master of the National School, says:—
notation[Listen]
"I have had one or two pure alto voices, and these are the best, but very rare. Good voices of trebles unable to take (D) have often become fair alto voices, and my present solo alto boy is one of these. The trios in the anthems are taken by boy alto, tenor, and bass. These alto boys are practised from lower G to C—notation[Listen]up and down, minding theirp'sandf's. My trebles, as a rule, last until fifteen years of age, and altos until sixteen, and even seventeen."
Mr. A. Isaac, choirmaster of a church in Liverpool, says:—
"For the last twenty years I have been continuously engaged with male voice choirs in connection with churches too poor to pay for adult help, and, as you may readily guess, I have never yet had the good fortune to secure, for any length, the services of gentlemen who could sing falsetto effectively. I have had, therefore, to rely solely upon my boys for the alto part. At the present time my choir, which is allowed to be up to the mark amongst local Liverpool churches, is made up of 22 boys (18 treble and 4 alto) paid, and 14 adults (5 tenors and 9 basses) voluntary. There is, I find, no royal road to the alto part. My course is as follows. I obtain my boys as soon as they are eleven, by which age they have been made fairly familiar at my school with the old notation on the movabledoplan. Theoretical instruction is continued side by side with special voice-training exercises. Occasionally I meet with a boy who has a true mezzo-soprano voice, and he is a treasure, but in the main my selections are boys with treble voices. As soon as a treble shows signs of voice breaking, I let him down into the alto part. The transition is not very difficult, for by this time the boy has become a fairly good Sol-faist and reader. I have but to adapt the voice-training exercises to him incompany with his fellows, and I have no reason to regret the issue. I take my boys always together, with two-part exercises."
Mr. Stocks Hammond, organist and choirmaster of St. Barnabas, Bradford, in a published paper on "Boys' Voices," says:—
"During many years of choir training, I have experienced very great difficulty in supplying the alto parts withgoodmen's falsetto voices (especially in voluntary choirs), and I have therefore been compelled to have that part sung by boys, and experience leads me to prefer the boys' voices to men's, unless, indeed, they are real alto voices, which are seldom to be met with. I have never yet had any great difficulty in finding boys' voices capable of sustaining that part, and can always fill up any gaps that occur by the following means. Whenever I find a treble begins to experience a difficulty in singing the upper notes, and that in order to sing them he must strain his voice, immediately he is put to sing alto, which he is in most cases able to do for one or two years, and during that time he is thus retained as a useful member of the choir; for otherwise he would very soon have been lost to it entirely, for nothing hastens so much the breaking of the voice as the habit of unduly straining it."
Mr. T. H. Collinson, Mus.B., organist of St. Mary's Cathedral, Edinburgh, writes to me:—
"Boy altos are a fraud and a deception, as a rule, though occasionally one meets with a natural contralto at an early age. Even then he can generally be worked up to treble by gentle treatment, developing the middle and falsetto registers."
In order to get to the bottom of this subject, I invited correspondence in theMusical Standard(until recently the organ of the College of Organists), and several interesting letters were the result. Mr. R. T. Gibbons, F.C.O., organist of the Grocers' Company's Schools, where excellent performances of operettas are given, wrote:—
"As soon as a boy's voice reaches only E♭he is drafted into the altos, and that preserves his voice much longer."
To this statement Mr. Fred. Cambridge, organist of Croydon Parish Church, took exception. He said:—
"I do not wish to appear to dogmatise, but I should say 'as soon as a boy's voice reaches only E♭,' it is quite time he left off singing altogether,i.e., if his voice has previously been a treble. I know it is the custom in some choirs to make a boy sing alto as soon as his voice begins to break. In my opinion, such a course is utterly wrong. It is not only injurious to the boy's voice, but very unpleasant for those who have to listen to it.
"In a school of 500 boys, there ought to be no difficulty in finding sufficient natural altos, without having to rely on broken-voiced trebles.
"In my own choir I frequently admit altos at 10 or 11 years of age, with the result that I get five or six years' work out of them, and the latter part of their time they are available for alto solos.
"I think (and I speak from upwards of 30 years' experience) that if Mr. Gibbons will try this plan, he will find it much more satisfactory than drafting his trebles into the altos as soon as their voices begin to break.
"I do not enter into the question of menversusboy altos, because it is my experience that in a voluntary choir, especially in the country, a reallygoodadult alto is such arara avis, that one is obliged to rely on boys, and if they are carefully chosen and trained, they are, I think, quite satisfactory. The only place when one misses the man alto voice is in anthems with a verse for A.T.B., such as 'Rejoice in the Lord' (Purcell), 'The Wilderness' (Goss), &c."
Mr. C. E. Juleff, organist of Bodmin Parish Church, wrote:—
"Allow me to say that I have found men altos infinitely preferable to those of boys. In short, one good man alto Ihave experienced to be equal to half-a-dozen boy altos as regards tone; and in respect to phrasing and reading I have found men altos decidedly superior. The two gentlemen altos who were in my choir at SS. Michael and All Angels, Exeter, were acknowledged by London organists to be 'second to none' in the provinces."
On the other hand, Mr. Thomas Ely, F.C.O., of St. John's College, Leatherhead, gave a warm testimony to boy altos:—
"I may say that in my choir at this College I have four or five very good boy altos. One is exceptionally good, possessing a natural alto voice of remarkable richness and beauty. In our services and anthems he takes the solo alto parts, and in my opinion he is far superior to a man alto, except in such anthems as Wesley's 'Ascribe unto the Lord' (expressly written for choirs possessing men altos), in which he cannot take some of the lower notes. The compass of his voice is from F to E♭."
In these letters and experiences there are evidently two underlying ideas. First, that the boy alto has a naturally low voice; second, that the boy alto is a broken-down soprano. For both these notions there is some physical foundation, because there is no doubt that the lower notes of boys of 12 to 14 are rounder and fuller than those of boys of 9 to 12. Herr Eglinger, of Basel, to whose mastery of the subject in theory and practice I can testify, from personal intercourse, distinctly recognises this. He says:—
"It is only when boys and girls approach the period of change, say a year or two before the voice begins to break, that a clear chest-voice, corresponding to that of women, is perceptible. In boys at this stage, the head-voice rapidly declines in volume and height; and what there is of middle register is not much, nor of great service much longer. On the other hand, the chest-tones acquire a resonance, and in boys a certain gruffness, which, mixed with other voices, imparts a peculiar charm to the chorus."
Thus although here and there a boy may be found with a naturally low voice from the first, the majority of altos will be obtained from older boys, who are approaching the period of change. It is, however, of much importance to watch these boys, and stop their singing when their voice really gives way, because it then becomes uncertain in its intonation, and is apt to spoil the tuning of the choir.
The idea that boys must not use the thick or chest register is also a mistake. It is the straining of this register, which produces a hard, rattling sound, that is objectionable. Boy altos have as much right to use the chest register, in its proper place and with proper reserve of power, as women altos.