ncert and to be accompanied by an orchestra, there is a mine of
wealth, not yet exhausted, in the operas of the older classic
composers. These, being less heavily orchestrated than the ultra
modern works written for the theatre, do not suffer in the same degree
from the different disposition of the orchestral instruments.

There are also a few vocal numbers with orchestral accompaniments
written in the form of a "scena," such as the "Ah, perfido" of
Beethoven, and the "Infelice" of Mendelssohn, which might possibly
form an agreeable change to the frequenters of symphonic concerts,
jaded a little, perhaps, with the oft-repeated "Dich theure Halle" and
"Prayer" from _Tannhaeuser_.

In order to render them more in keeping with the conditions of
symphonic concerts, orchestral accompaniments, to many songs by the
classic composers, have been made by excellent musicians from the
original piano-part. The ethical question involved in the presentation
of such works in a form other than that written by the composer, need
not be considered here. Each artist must decide the matter for
himself.

So far as songs with accompaniments for the piano are concerned, there
is a mine practically inexhaustible and from which new treasures are
constantly brought to light. For Recital purposes, the choice and
sequence of a programme is second in importance only to its execution.
And although suppleness and adaptability are valuable, even necessary,
qualities, in a concert-singer, he will sometimes find that certain
songs--admirable in themselves--are unsuited to him, for reasons which
it is not always possible to define. In such cases it is not a matter
of compass, or _tessitura_, of voice, or even temperament; there is
some hidden lack of sympathy between the composer and his interpreter.
A song should seem like a well-fitting garment; not only admirably
made, but specially designed for the person who wears it.

CHAPTER VI

CONCLUSION

The art of Singing is at present in a period of transition; and all
unsettled conditions are unsatisfactory. Former standards are being
thrown down; and the new ones are not yet elected, or, if chosen, not
yet firmly fixed in the places of the old.

All Arts have a period in their history when they seem to reach their
culminating point of technical perfection. Perhaps this point is
reached when the art is practised for its own sake, without giving
much consideration or attributing special import