uld caution singers to exercise
discretion in this much-abused effect. Variations of Tempo, the
_ritardando_, _accelerando_, and _tempo rubato_, are all legitimate
aids demanded by Expression. But unless their use is determined by
sound judgment and correct musicianly taste, the effect speedily
becomes vulgar and monotonous. Knowledge, and a taste formed in good
schools, must be the guide of the vocalist in the use of variations of
tempo.

I have said that the operas of Bellini, Donizetti and Verdi abound in
instances requiring the hastening or slackening of the tempo. But the
device is also highly esteemed by the ultra-modern Italian school, as
may be seen in studying the scores of Puccini, Mascagni and
Leoncavallo.

Here is an illustration of its effective use in the air "Connais-tu le
pays?" from _Mignon_ (Act II), by Ambroise Thomas. Madame Christine
Nilsson (Countess Casa Miranda), who "passed" the role with the
composer, always sang the phrase thus, although these indications do
not appear in the published version:

[Music: Helas! que ne puis-je te suivre, vers ce rivage heureux, d'ou
le sort m'exila!]

Again, in the fine song _Der Asra_, by Rubinstein, the musical, as
well as the dramatic, effect of the poem is heightened by the use of
the _accelerando_, which interprets with musical vividness the
impetuous avowal by the slave of his passion for the princess, after
his calm answer to her questions as to his name and birthplace.

"_Ich heisse Mahomet, ich bin aus Yemen, und mein Stamm sind jene
Asra, welche sterben, wenn sie lieben._" (HEINE.)

[Music: und mein Stamm sind jene Asra, welche sterben, wenn sie
lieben.]

CHAPTER IV

TRADITION

Tradition plays a more important part, perhaps, in the interpretation
of the classic composers' writings for the voice than it does in their
purely instrumental works. The old masters left few--sometimes not
any--indications as to the manner in which their music should be
rendered. Thus its proper performance is largely determined by
received oral tradition. The printed scores of the classics, except
those that have been specially edited, throw little light on their
proper interpretation, or even at times on the actual notes to be
sung. To perform exactly as written the operas of Gluck, notably
_Armide_ and _Orphee_, the operas of Mozart, the Italian operas and
English oratorios of Handel, the oratorios of Bach, Haydn, and
Mendelssohn, would be to do the gr