While recognizing the benefits conferred by some of these specially prepared editions, there remains still more to be accomplished in this direction before the work is complete. A flood of light has been thrown on the dark and nebulous places of the instrumental classics by various distinguished and highly competent musicians. It is sincerely to be hoped, in the interests of this branch of the æsthetics of vocal art, that those competent to speak with authority will do so, in order that in this direction also “the crooked shall be made straight, and the rough places plain.”
I admit that this question of revising the composer’s written text is an exceedingly delicate and difficult one. It should be attempted only by those possessed of the requisite authority, those who combine tact and taste with judgment and experience. To these qualities should be added a sincere and reverential desire to place in the highest relief the meaning of both poet and composer.
I have said that the license formerly accorded by composers to singers—particularly operatic singers—manifested itself in a twofold form. The second of these phases was the introduction in the body of a theme or melody, and also at its close, of embellishments. Sometimes the composer briefly sketched these ornaments; at other times their places only were indicated. The ornaments in the body of an air are known as abbellimenti or fioriture; those at its close, as cadenze.
Here is an example of the former, taken from the duet in Elisa e Claudio by Mercadante:
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The following is the same passage ornamented:
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