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From the PREFACE. MUCH concerning the scope and plan of this collection of operatic airs (including the volumes with which it is associated) can be gathered from a glance over the table of contents and an intelligent perusal of the titles. Nevertheless the editor thinks it advisable to give some specific information about his purposes as realized here and the means adopted for their attainment. I. The arrangement is chronological and the to be a wise course, instead of baldly presenting period covered is that from the invention of the Italian opera down to the closing decades of the printed page, or leaving the suggested read the nineteenth century. So far as was practicable all schools really significant from an historical or artistic point of view have been considered; also, so far as possible, examples of all the various kinds of airs are given, from the earliest exfoliations of Florentine monody, through the artificial forms which mark the golden age of bel canto, down to the freer and more dramatic due utterances of the present day. with glad and grateful obedience. II. In order that the airs shall present themselves to the student and the singer as they did to the hearer and singer at the period of their creation, they are all given, (a) in the voice for which they were conceived; (b) in the original keys; (c) in the original texts, with as faithful a translation into the vernacular as the exigencies simplification, as the case might be, and also to of the music would allow; (d) in the manner in which they were sung when they were written. The last point calls for an explanation. All students of singing ought to know that the intentions of composers up to, let us say for convenience, the middle of the nineteenth century....

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9781722325534

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