Most concert-goers know only too well how little this principle is regarded among Lieder singers. Is there one singer out of ten who does not try to transcend his or her song? Is there one singer out of ten who would not rather have his or her hearers at the end of a piece exclaim: ‘A great singer!’ rather than ‘A great song!’ And to force their personalities to the foreground singers will abuse their songs from beginning to end. Often they do it intentionally, sincerely believing that this is the only kind of singing that is effective. But in a great number of cases, without doubt, it is done unconsciously, as the natural and only way of singing. A special coloring on one of the singer’s pet tones, a long pause on a high note, an exaggerated retard in a sentimental passage--these sins against taste are being constantly committed by singers whose only interest in songs is to advance their personal reputations. In a way they are not to be blamed, for competition is keen; a hundred fail where one succeeds, and that one succeeds usually only by forcing his personality on the public; and the public is inclined to be _blasé_, to demand picturesque personalities, and to grumble if a singer is ‘ordinary.’ Singers need intelligent audiences as much as audiences need intelligent singers. But, whatever may be the lamentable state of actual conditions, a song, if well sung, is sung with intelligent restraint. The ideal singer will give a song as he believes it should be given, without concession to the prejudices of the audiences, content to let the work of art speak for itself and to allow people to forget the workman in their joy at the work. And as soon as the demand for restraint is met, the singer discovers a new and kindred demand in the song, one which is quite as inherent in the art-type. This is the demand for style. Style, as an artist uses it, is a ticklish thing, one which cannot quite be put into words. But every working artist feels it as a value. For, if the singer is to pick and choose (as the composer picked and chose previously) in the singing of a song, he must do so according to some principle. This principle, if it be genuine and not arbitrary, will be the style of the song. It will make the hearer feel that the interpretative details were not only chosen carefully, but were chosen well. It is that subtle thing that seems to make the song ‘hang together.’