f its language;
hence the numerous cases of the misplacing of syllables in his
oratorios. This defect is also noticeable, but not in the same degree,
in his Italian operas. The books of _Elijah_ and _St. Paul_
(Mendelssohn), and _The Creation_ (Haydn), were originally written in
German, and therefore suffer somewhat in this respect when the
translated English version is given. This fault is also noticeable in
the English versions of Bach's _Passion_ (St. Matthew), and
Mendelssohn's _Psalm CXIV_. In the first quoted of these two works, in
the response for Double Chorus to the question, "Whether of the twain
will ye that I release unto you?" the accent falls on the first
syllable "_Ba_-rab-bas"; in the second of the two works (_114th
Psalm_), the accent is placed on the last syllable, thus:
"Hal-le-lu-_jah_." Neither of these accentuations is in accordance
with English custom.

A singer, therefore, is perfectly justified in rearranging the
syllables in order that, as far as possible, the musical and verbal
accents shall coincide. But there are rigorists, unaware of the usages
and conventions previously spoken of, who are very severe in their
judgment when any deviation is made from the printed score with which
they follow the performance of classic works. Such severity is
unmerited, because unjust. Although such persons sometimes inveigh
against any and every change from the strict letter of the printed
music--ignorant of the possibility, that only in this way can its
spirit be respected--the changes in a multitude of cases are essential
because due (1) to reverential deciphering of an obsolete musical
notation, (2) to improvements in musical instruments, or (3) to the
sanction and authority of the composer himself.

Sometimes it is an orchestral conductor who reproaches the solo
singers with their want of respect for the composer, because he hears
at times interpolations or changes which find no place in his own
score. The singers are accused of "altering the composer," of "taking
liberties with the text." And yet these very changes may be
traditionally correct; they may be in accordance with rules and
conditions prevalent at the time the music was written, and employed
on account of a desire to interpret the composer's own intentions, and
not from mere vanity or caprice.

Nor are these necessary changes and departures from the printed scores
of the classics confined to the vocal parts of the music composed by
the o