Opera on the Move in the Nordic Countries during the Long 19th ...

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44 Juvas Marianne Liljas institutionalised education (Rostwall & Selander 2008). Thus, the Björling model of home schooling is a source of knowledge that enhances understanding of how opera singing was deconstructed in the home environment in the long nineteenth century. The Björling family had its own musical references. In sum, a folk tradition was combined with bourgeois pretentions to urban life in the nineteenth century. David Björling was schooled according to nineteenth-century traditions and built his interpretation of the art of opera through his studying, performing and teaching. The Metropolitan <strong>Opera</strong> School offered a formal education including an impressive international network. Vienna and his studies at the conservatoire there seemed subsequently to have inspired and enabled him to educate his children in the manner of the Old Italian opera tradition in terms of both music and vocal pedagogy. He also found inspiration in rural areas where the tradition of family singing was connected to the Free Church movement of the late 1800s. David Björling’s educational style belongs to an older Master-pupil tradition. On the conceptual level the Björling ‘school’ goes back to the eighteenth-century notion of the child prodigy and the involvement of the whole family (Ling 2009). The extensive touring in both Sweden and the USA is connected to the promotion of wonder-children and David Björling’s ambition to ensure the boys’ education. The two-year tour of the USA gave an international flavour to the education, together with experience of international audiences and modern techniques such as recording. The focus in later research turns from the extraordinary musical talent of prodigies to the musical environment and teaching methods (Sundin 1995; Gardner 1994). David Björling’s curriculum ranged from pre-schooling based on the infant’s perception to programmed vocal practice. The results show that he was ideologically familiar with the German philosophy of musical upbringing and the neo-humanistic ideal on which reformed music education was based (Uddén 2001). David Björling’s method of teaching singing to children was connected ideologically to reformed music pedagogy and technically to earlier educational practices, specifically within an older Italian tradition reformed in part according to the didactic principles of the Lamperti School. In conclusion, his vocal pedagogical work reflects the move towards more delineated singing education. In modern terms, the curriculum was well defined and the learning outcomes were precise. David Björling could also be said to have been responsible for the sustainable development of the children’s voices.
The Björling ‘<strong>Opera</strong>’ Inspired by theories connected to the contemporary debate on the “The decadence of the singing art” David Björling experimented in order to create the perfect voice. With his sons as pupils he formed a children’s nursery academy - an Italian conservatory in miniature. To protect his sons from unsuitable influences he created a strictly defined vocal environment in which he and other hand-picked opera singers were vocal role models. One of them was the Italian tenor Enrico Caruso. Sources and literature Manuscript sources The Royal library (KB), Stockholm Letter from Fritz Arlberg to Ludvig Josephson 28 August 1895. The National Music Library (SMB), Stockholm Berg, Isak 1868-1869: Anteckningar rörande Rösten, Sången och Konsten: Testamentet till mina lärjungar. Hand written in two volyms. Jussi Björling Museum, Borlänge Letter of recommendation from Wilhelm Stenhammar, Gothenburg, 25 March 1912 Letter from Count Hans Joachim Beck-Friis, diplomat at the Swedish legation in Vienna to Monsieur de Horetsky, Director of the Court opera in Vienna, Vienna 22 November 1907 Statisticher Bericht über das Konservatorium der Musik und darstellenden Kunst für das Schuljahr 1907-1908; The Music Conservatory of Vienna, 1907-1908 Diary of Märta Björling Programme, Der Zigeuner-Baron, Metropolitan <strong>Opera</strong> House 15 February 1906 Other sources Jussi Björling Museum, Borlänge, Radio and TV programmes Det glömmer jag aldrig. Swedish Radio 1990, interview with Märta Björling- Kärn. Interviewer: Seth Karlsson, Falun Jussi Björlings Saga. Swedish TV documentary in two parts, 26-27 December 1977, produced by Jan Sederholm and Tomas Olofsson 45
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Page 5 and 6: Contents Anne Sivuoja with Owe Ande
Page 7 and 8: Introduction Anne Sivuoja with Owe
Page 9 and 10: Introduction ity of vocal resources
Page 11 and 12: *** Introduction Methodological tra
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