The effect of the F sharp in the last bar, if sung against the harmony given, in which the preceding chord is resolved, would be intolerable. Surely, the composer intended a pronounced rallentando on the latter half of the bar, and a carrying of the voice by a portamento to the last note. Thus:
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In the edition of the immortal air in the opera of Xerxes, universally known as the “Largo of Handel,” also revised and edited by d’Indy, may be noticed the following:
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Of course, every operatic conductor knows that the chord in the orchestra must be played “after the voice,” as the technical phrase has it. But not every pianist or organist is familiar with this usage, and the effect would be very disagreeable if given as written. It should be performed thus:
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