In English with an English accent yes. It leads itself well to r.p. and the declamatory style. The most memorable poem I have heard in English.
In terms of beautiful in sound/ musicality I would go with Burns, you can use the same style but their is a greater range, vowel sounds are not as flat as Southern English. But that is down to accent.
p.s Does any research exists on Coleridge/ rhetoric and sound? Both Burns and Coleridge seem ready made for the traditional rhetorical vocal techniques and style of drama.
I always just assume the poem is intended to be spoken and you're dealing with someone who knows how to speak and speaks well.
I don't know, off-hand, about research on STC's pronunciation, though I've read a remark or two here and there. I do know that he gave readings of his poems and his reading of KK was said to be compelling.
More a matter of style and technique than pronunciation as you can use the same style and technique with Burns and Coleridge to great effect.
Verses that almost seem made for this method, they fit like a glove.
'Declamatory style' it has a bad press now considered to be 'overblown' or ridiculously effected speech, but if you hear an English actor performing Shakespeare, the basic style and learning model is still the declamatory style.
It has a strong relationship with the pulpit. Ears would have been very familiar with its styles and had a significant sensitivity to it's stylistic variations (indication of ecclesiastical identity and school).
Not sure how much work he produced that was religious in tone, but I would make the assumption, good chance it would be influenced by the vocal style and technique used in sermons and the stage.
I listened, Mckellan, you can hear it clearly, curious that its not off the page and instead clearly read. I find his sybilance choices (s to z, to cut out the hissy effect) rather unusual. It'ss sserioussly hissy at times and his choice iz not to control it.
p.s the version in my head from when I last heard it sounds different, off page and not using a mic, rehearsal room that would formally have been a reception room in a Georgian mansion. Space and the audience makes a world of difference. Its a different thing.
In English with an English accent yes. It leads itself well to r.p. and the declamatory style.
ReplyDeleteThe most memorable poem I have heard in English.
In terms of beautiful in sound/ musicality I would go with Burns, you can use the same style but their is a greater range, vowel sounds are not as flat as Southern English. But that is down to accent.
But in English English, its a winner.
p.s Does any research exists on Coleridge/ rhetoric and sound? Both Burns and Coleridge seem ready made for the traditional rhetorical vocal techniques and style of drama.
ReplyDeleteI always just assume the poem is intended to be spoken and you're dealing with someone who knows how to speak and speaks well.
I don't know, off-hand, about research on STC's pronunciation, though I've read a remark or two here and there. I do know that he gave readings of his poems and his reading of KK was said to be compelling.
DeleteMore a matter of style and technique than pronunciation as you can use the same style and technique with Burns and Coleridge to great effect.
ReplyDeleteVerses that almost seem made for this method, they fit like a glove.
'Declamatory style' it has a bad press now considered to be 'overblown' or ridiculously effected speech, but if you hear an English actor performing Shakespeare, the basic style and learning model is still the declamatory style.
It has a strong relationship with the pulpit. Ears would have been very familiar with its styles and had a significant sensitivity to it's stylistic variations (indication of ecclesiastical identity and school).
Not sure how much work he produced that was religious in tone, but I would make the assumption, good chance it would be influenced by the vocal style and technique used in sermons and the stage.
If you go to YouTube and search on "Kubla Khan" you'll find a versions by Ian Mckellan, Benedict Cumberbach and various others.
DeleteI listened, Mckellan, you can hear it clearly, curious that its not off the page and instead clearly read. I find his sybilance choices (s to z, to cut out the hissy effect) rather unusual. It'ss sserioussly hissy at times and his choice iz not to control it.
ReplyDeletep.s the version in my head from when I last heard it sounds different, off page and not using a mic, rehearsal room that would formally have been a reception room in a Georgian mansion. Space and the audience makes a world of difference. Its a different thing.
ReplyDelete