natural,
fine development. This second evil is the reckless and destructive
straining of single tones to their extreme limits, even to perfect
exhaustion. The poor singer urges and squeezes out the voice, and
quivers to the innermost marrow, in order that the two requirements of
"Boldness" and "Power" may be satisfied. But the "Spirit" is still
wanting, which should be shown in a light and well-shaded delivery. The
effect of extreme shading, however, is accomplished in a single
"romanza." The unfortunate, misdirected singer, who must aim at effect,
lays out so much force on single tones, or even on whole lines, and
that, too, in the best register of his voice (the other registers do not
permit this), that the succeeding tones are forced to retire powerless
into the throat; and the beautiful, fresh, youthful tenor or bass voice
concludes with exhausted groaning and mere speaking tones. The "romanza"
is now at an end, and certainly "Boldness, Spirit, and Power" have
worked in union. The task is executed the better, because a rude
accompaniment has probably sustained the singer in a most striking
manner, and has completed the total effect.

By such management, to which I must emphatically add the continual
holding of the tones, even in the _forte_, voices are expected "to come
out," to be developed, inspired, and made beautiful. What healthy ear
can endure such enormities in tone formation, such tortures in singing?
These, then, are the modern contributions for the embellishment of art!
A curse on these evil spirits! If my feeble pen shall assist in bringing
such singing-teachers to their senses, and shall help to save only a
few of our fine voices, I shall consider my mission fulfilled, and the
aim of this book, so far as it concerns singing, accomplished.

* * * * *

I have heretofore combated many prejudices, both in earnest and in
sport, successfully and unsuccessfully; but one I find very
obstinate,--it has pursued me incessantly for years. A piano-player,
with a rigid, strained, and vicious touch, proceeding from the arm, may
play a great deal, but his playing is thoroughly vulgar and without
beauty. He feels this himself, and the playing of my pupils pleases him
better. He wishes me to change his style to their better manner; but he
still continues to pound, to bang, to exaggerate, and to play in his own
way, and only wishes his style to be improved, and his power of
execution to b