still continues to pound, to bang, to exaggerate, and to play in his own
way, and only wishes his style to be improved, and his power of
execution to be increased. If a performer of this sort is not much more
than twenty years of age, something may yet be done for the improvement
of his touch, and consequently of his style of playing; but this is only
possible by laying aside all his accustomed pieces of music, and by
diligently practising, daily, small easy exercises, which must be played
delicately, with loose fingers, and without allowing the arm to give the
slightest assistance; otherwise, all labor will be thrown away upon
him. How else can you begin, except by laying a proper foundation for a
better style? I have frequently urged this principle both by speech and
in writing; but the difficulty always returns, and especially in the
cultivation of female singers.

A girl of eighteen comes to me: she has heard of the excellent
cultivation of my lady singers, and wishes to obtain the same for
herself. In order that I may hear her voice, she selects the "Erlkönig,"
by Schubert, that perilous piece, which is apt to lead even highly
cultivated singers into frightful atrocities. Heavens! what must I hear?
With the remains of a fine, youthful voice, whose registers are already
broken up and disconnected, she shrieks out the "Erlkönig," between sobs
and groans, with screwed-up chest-tones, and many modern improprieties,
but nevertheless with dramatic talent. The piercing voice, forced to its
utmost, fills me with horror; but also with pity for such a glorious
endowment, and such an unnatural development. At the conclusion, her
voice succumbed to the effort, and she could only groan hoarsely, and
wheeze without emitting a sound. She has, however, frequently produced
great effect in society, and drawn tears with this performance: it is
her favorite piece. Let us abandon this singing for parties, this
melancholy _dilettantismus_, everywhere so obtrusive! The girl is only