Sprechgesang is a musical technique in which the vocalist alternates between reciting and singing while performing a song. It is frequently compared to chanting because both involve reciting the text while incorporating musical elements such as rhythm and pitch. Operas frequently employ this technique. Sprechgesang can be performed solo, in a duet, or even by a choral ensemble.
The sprechgesang concept came from Germany, where opera and theater flourished in the 1800s, a century after Mozart and Beethoven established themselves as established classical musicians. The word “spoken song” is the literal translation. Although the latter is more declamatory than singing, the method is frequently confused or interchanged with another technique known as the “sprechtimme,” or “spoken voice.” This is because, in contrast to sprechgesang, musical elements, particularly the tone of the lyrics, are given little weight in sprechtimme.
Many historians credit Richard Wagner, a 19th-century musician who became one of the world’s most influential and pioneering musicians, with the invention of sprechgesang. One of Wagner’s goals was to combine the recitativo and aria, or speech and melody, styles in order to enrich his “music dramas” and further develop the moods within the story. The technique of “speech singing” gained popularity in the 1900s, when German composer Arnold Schoenberg used it in his melodrama “Pierrot Lunaire,” which featured Albertine Zehme, who was more of an actress than a singer. It’s also worth noting that the rise of German “hip-hop,” which frequently includes rapping in the songs, coincided with the rise of the “spoken song” technique.
One of the reasons that sprechgesang is frequently used in melodrama and comedic operas is that it has the ability to evoke and emphasize certain emotions, which are important elements in expressionist art. Singing is generally well-controlled and must be pleasing to the ear, but it does not always allow for or convey extreme emotions. The “spoken song” method, on the other hand, allows the performer to use speech to express extreme happiness, fear, or grief. For example, to convey happiness, the performer can use high-pitched tones and fast talking, but to express immense grief, the performer can create low and lilting moans.
Sprechgesang is a difficult singing technique to master, especially because there is no definitive explanation for how to do it correctly. The method permits the performer to incorporate elements of everyday speech, but the end result should not be so. Although no specific pitches are used, the performance should still have a “musical” feel to it, and it is frequently required to maintain a certain rhythm.