with
the composer, and sang it when the work was first given at the Paris
Opera. She was also chosen by Richard Wagner for the part of Elisabeth
when _Tannhaeuser_ was given its stormy performances, with Niemann in
the title-role, at the same theatre in 1861.

Madame Saxe possessed a score of _Tannhaeuser_ with the inscription in
the composer's handwriting:

"_A ma courageuse amie
Mademoiselle Marie Saxe._

_L'Auteur_
RICHARD WAGNER."

The slight modifications, or _pointages_, asked from Verdi, were not,
I was assured by Madame Saxe, of a character to alter either the role
or the opera, and she remarked (I quote her own words): "Why should
Verdi have shown himself more unreasonable or less yielding than
Meyerbeer or Wagner?" (_plus intransigeant, plus intraitable que_
Meyerbeer _ou_ Wagner?).

* * * * *

In tradition, however, there is the true or accepted tradition--so
called because believed to have been sanctioned by the composer
himself, or approved of by competent authorities and its use warranted
by time--and the false. This latter is simply an accumulation of
excrescences superimposed on the original by individual whim or
personal fancy. These have been invented by singers desirous of
bringing into relief certain special and peculiar gifts, or who have
mistaken, perhaps forgotten, the original and authentic tradition.
Thus their artistic heritage has become so altered and disfigured by
successive additions, or "machicotage," as to bear no resemblance to
the original, this being buried under a heap of useless complications.

But it may be asked, are there no authoritatively correct printed
editions of such classics with the accepted traditions and the proper
mode of their performance expressed in modern musical notation? Yes:
but they are incomplete, being for the most part confined to airs and
other excerpts, instead of the complete works themselves. In this
connection, I may cite the admirable edition of the "_Gloires
d'Italie_" by the late erudite musician and authority, Gevaert, for so
many years Director of the Conservatoire at Brussels. These editions
are characterized by a scrupulous fidelity to the composers' text as
it was understood when written, as well as by great taste and musical
sense of what is appropriate and fitting, in such ornaments as the
editor has introduced, when these have been left to the discretion of
the singer. The solo par