l education.

More: sometimes these singers even collaborated with the composers.
Crescentini, the last famous male sopranist, is reputed by history or
legend--the two are not infrequently synonymous--to have been himself
the composer of the well-known aria "_Ombra adorata_," introduced by
him in Zingarelli's opera _Romeo e Giulietta_, as also of the prayer
sung by Romeo in the same work. His singing of it is said to have
moved his audience to tears, and gained for him the decoration of the
Iron Crown, conferred upon him by Napoleon I. The Emperor also
induced him, by the offer of a large salary, to settle in Paris as
professor of singing.

When these great artists--their career as public singers being
ended--began in turn to form pupils, they were admirably fitted for
the task of imparting instruction, being excellent musicians, and, as
I have said, composers of no insignificant merit. They had a sound
theoretical knowledge, compared with which that of many of our modern
singers seems but a pale and feeble reflection.

The collaboration of composer and interpreter is not altogether
unknown in the domain of instrumental music. Is it not historical that
Mendelssohn profited largely from the wise counsels of the celebrated
violinist Ferdinand David in the composition of his concerto for
violin and orchestra? This does not mean that David contributed any
musical phrases or ideas to the work; but that his practical knowledge
of the special characteristics and capabilities of the solo instrument
enabled him to suggest how the composer's thoughts might be most
fittingly presented.

Returning to the question of the introduction of ornaments, etc., into
a composer's work, the following extract may be of interest to the
musical student. It is from a volume of criticism, now out of print, a
copy of which is possessed by the present writer. The article appeared
in _La Patrie_ more than forty years ago, and was called forth by the
ornaments written by the then well-known singer and teacher of great
ability, Stephan de La Madelaine. These changes were for the great
air of Agathe in the second act of _Der Freischuetz_, and were the
cause of much discussion among the music-critics of the time.

"Following the example of celebrated vocal virtuosi whom he had
formerly known, and availing himself of the license then permitted,
the master (de La Madelaine) has introduced several alterations
(_changements_). These, however, in no sen