THE IDEAL SONG

Shannon News, 31 December 1926, Page 2

THE IDEAL SONG

Every singer, probably every man and woman interested in music, has an ideal song, states Dame Clara Butt. Their ideal may be a song they have already heard; more often it is a vague idea; dwelling in the mind; sometimes it is a lyric without tlic necessary music. Thousands never find .their ideal, but it .is none the less valuable as a spur. ; Thpy read every piece of. new, music , they find, hoping that it may be the song they are looking for.

I have sung many different songs of every type during 1 think they have all been;-good songs in that they have fulfilled their purpose. Most of them have been something more, and a few I have sung hundreds of times AVithout becoming tired of them.' These, few arc for all time.

Sullivan’s “The Lost of them. It is as popular to-day as it was AA'hcn I began singing; more, it is still recognised as at fine piece of writing. Like Beethoven’s "Hymn of Creation,’’ it is monumental, isomething at once gigantic and simple. It reminds one of a Michel -Angelo statue wonderfully hewn out of solid rock, yet perfect in every detail, and, above all, sincere.

Not e\ r cry song can ; be appreciated' at the first hearing. Many composers arc slightly ahead of their audiences, and so it is that although 30 years have passed since Sir Edward Elgar Avrote his “Sea Pictures” for me, it is only during recent years that I have felt my audiences appreciating them to the full.

Thirty years ago the ballad, with its straightforward message, was in vogue. Impressionist music, such as ine “Sea Pictures” wds only just beginning to be written. Now it is fully by audiences accustomed to Ravel and Debussy and I feel I can give a fuller interpretation without any danger of "singing over their heads.’’ , Most people know that Mr. Liddle’s setting of “Abide With Me” was specially written for me, ana .I love the song, not only because. ofo'lts simple beauty and sincerity, but also because it was written when Mr. .Diddle had, as lie said, "my voice in;his fingers." Fifteen years ago I read a lyric by Tagore; "When the mind is without Tear and the head is held high.” The words struck me, and I kept them by,' hoping to find a composer to set them. But 1 wanted a monumental setting, a song like Beethoven’s “Hymn of Creation.” I sent the poem to' Sir Edward Elgar, but he was not struck by it, and not until quite recently did I find a composer. I am singing Felix White’s setting for the first -timo in most or the towns lam visltiiig. Felix White, who is musically selftaught won my prize for competition at an Albert Hall competition recently. “I should liko to write a song for you,” he said to mo after the prize giving, "but it is very difficult to find good lyrics.” Thinking, of the poem in my drawer I asked him if j he knew anything of . Tagore. He replied, “Vetf? little,” so I decided that it,would no use showing him the poem.

Two or three days later he came to. nic and said, “Here is a lyric I found amohgst a number I cut out some years ago. I don’t know who the author is, but I think it would make a fine song.” The poem he. showed me was, “When the mind is -without fear”! He set the. song, and ;I ; love it. In this case I was lucky enough to find my ideal. ''