Another plague in the modern execution of music is the abuse of the tremolo by both singers and instrumental performers. With singers, this quivering is often the result of a fatigued voice, in which case it is involuntary and is only to be deplored; but that is not the case with violin and violoncello players. It is a fashion with them born of a desire to make an effect at any cost, and is due to the depraved taste of the public for a passionate execution of music; but art does not live on passion alone. In our time, when art, through an admirable evolution, has conquered all domains, music should express all, from the most perfect calm to the most violent emotions. When one is strongly moved the voice is altered, and in moving situations the singer should make his voice vibrate. Formerly the German female singers sang with all their voice, without any vibration in the sound and without any reference to the situation; one would say they were clarinets. Now, one must vibrate all the time. I heard the Meistersingers' quintette sung in Paris. It was dreadful and the composition incomprehensible. Not all singers, fortunately, have this defect, but it has taken possession of violinists and 'cello players. That was not the way Franchomme, the 'cello player and collaborator of Chopin, played, nor was it the way Sarasate, Sivori or Joachim played. I have written a concerto, the first and last movements of which are very passionate. They are separated by a movement of the greatest calm,--a lake between two mountains. Those great violin players who do me the honor to play this piece, do not understand the contrast and they vibrate on the lake just as they do on the mountains. Sarasate, for whom this concerto was written, was as calm on the lake as he was agitated on the mountains; nor did he fail on this account to produce always a great effect--for there is nothing like giving to music its veritable character.