frequently commit sins in every line against correct representation, the
register of the voice, the breathings, the pronunciation, and a hundred
other things.

Look around and see who sing these so-called classical songs. They are
either singers who do not know what singing is, and who have no taste
for it, which, in consequence of their education, they never can have;
or those who no longer have any voice, and accordingly sing every thing,
or, rather, declaim it, because they cannot sing. I recommend you to
sing (to mention the names of two only of our most excellent song
composers) the charming songs of Fr. Schubert and Mendelssohn, who, in
constant intercourse with the most judicious masters of singing in
Vienna and Italy, have striven constantly to compose scientifically, and
have at the same time produced clever songs; but you should sing them
not too often, or too many of them. Singing in the German language, and
in syllables, and often with clumsy melodies, requires a great deal of
voice, and easily leads to many faults and to a false manner. Remember
how strictly Jenny Lind selected, for performance in her concerts, the
songs of Schubert, Mendelssohn, and Schumann. In this way she succeeded
in winning great success, even with small, short songs.

Finally, one more secret for performers, which weighs heavy in the
balance. You ought, especially if you have not received good early
instruction, to acquire a habit of moving the fingers very frequently,
at every convenient opportunity; and particularly of letting them fall
loosely and lightly upon any hard object, while the hand lies upon
something firm, in an extended position.

You must accustom yourselves to do this unconsciously. For example,
while reading, at table, or while listening to music, allow your hand to