The Music of Hindostan c12.8

c12.8

We think of grace-notes as something which may but need not be added to the note, not as something actually inherent in it. If cultivated for their own sake or used at all in excess they are regarded by us as meretricious. We remember with a smile Mendelssohn's trombone-player who announced the theme of the *Lobgesang* Overture as or we laugh with Spohr at his Italian horn-players who supplied obvious omissions in his score by their *contrappunto alla mente*, or on our own account at an occasional festival singer who ornaments penultimate notes into consecutive Fifths with the bass. The trills of the voice leave us cold, the ‘turn’ in ‘Rienzi’s prayer’ spoils a rather dignified tune, and the family of double appoggiaturas in harpsichord music enjoys at best a sort of *succès d’estime*.