the loss both of voice and
health. Nicely shaded singing, from _piano_ onwards, is thereby rendered
impossible; and tones which are always forced must remain unpleasant,
even although powers thus laboriously gained may sometimes have a fine
effect in the opera. A tenor who wishes to preserve his voice and not to
scream in the upper tones, who desires always to have a _piano_ at
command and to possess the necessary shading and lightness as well as
elegance and flexibility, should cultivate the _falsetto_, and endeavor
to bring it down as far as possible into the chest-register. This is as
indispensable as is the use of the head-tones for the soprano. When the
_falsetto_ has too striking a resemblance to the chest-voice, and is
even inferior to it in power, it is the result of want of perseverance
and prudence in its cultivation. It ought to be almost imperceptibly
connected with the chest-register by the introduction of the mixed
tones.

* * * * *

We shall probably soon be called upon to read an "Address of Young
Female Singers to the Composers of Germany," as follows: "Freedom of
thought! freedom in composition! freedom in the opera! but no
annihilation of the throat! You are hereby notified that we protest
against all operas which are repugnant to the true art of singing; for
it is not in your power to compensate us for the loss of our voices,
although it may be possible for you, after using up our talent as
quickly as possible, to look around for others, with whom you can do the
same. First learn to understand singing, or, rather, first learn to
sing, as your predecessors have done, and as Italian composers still do,
and then we will talk with you again."

* * * * *

"What a pedantic outcry about German want of adaptability for singing!
Pray where is there the most singing?" It is, I agree, in Germany. "Is
not singing taught in the public schools? And consider, too, the
innumerable singing clubs, singing societies, and singing institutions!"

That is just the misfortune which requires a thorough investigation. How
many promising voices do these institutions annually follow to the
grave? Who is it who sing in the schools? Boys and girls from thirteen
to fifteen years old. But boys ought not to be allowed to sing while the
voice is changing; and girls, also from physical reasons, ought not to
sing at all at that age. And what kind of instructors teach s