[9] If they omitted their roulades, it must have been for the purpose of enabling Rubini to introduce his own, for no singer was ever so absurdly prodigal of them as this. And as to his ‘elocutionary style,’ he must have acquired it very recently; he shewed no symptom of it so late as May last.—Editor.
[10] This remark was, probably, aimed at the composer of Der Freischütz, of whom Beethoven was somewhat jealous, rather than at Mozart.—(Editor.)
[11] A few years before his death, Beethoven received Arnold’s edition of Handel’s works in score, as a present from M. Stumpff, the well-known harp-maker, from which period his admiration of that great composer seemed to have no bounds.—(Editor.)
[12] Manu propria, with his own hand.
[13] The same civilizing improvements may also have been the means of giving the swans lessons in singing, a possibility which our correspondent seems to have overlooked.—Editor.
[14] For the conditions, see Harmonicon, &c.
[15] But M. de Camus has talked of the pizzicato of the voice! (page 61) a term never before applied to anything of a musical kind, except stringed instruments, and the exact meaning of which he perhaps had not duly considered.
[16] We shall give this song, with a full piano-forte accompaniment, in our ensuing number. Editor.
[17] Published in 8vo. from the original Manuscript, by André of Offenbach, who vouches for its authenticity, which, in fact, has never been called in doubt.
[18] ‘Asseyez-vous, mai enfans.’—‘Il n’y a pas de quoi, mon seigneur.’