Page:The story of the flute (IA storyofflute1914fitz).djvu/138

 owing to its sympathetic tone, to accompany the human voice (especially a light soprano), and in the hands of a skilful player blends so perfectly that it is often well-nigh impossible to distinguish the notes of the singer from those of the flautist. In order to be really effective, the obligato must be one specially written for the flute. Adaptations from the violin or violoncello are generally unsuited to the flute and do not bring out its best effects; they are, as a rule, too tame. Light, sparkling, bravura songs, with arpeggios and echoing, or imitative passages between voice and flute, are the most effective.

The majority of songs with flute obligatofrom Handel's Sweet Bird (Il Penseroso) to Terschak's Nightingalerefer more or less directly to birds; but an attempt to reproduce their song is dangerous, and one feels inclined to say with Philip of Macedon, "I prefer the nightingale herself." Many were specially composed for great singers, and are too high and florid for ordinary voices; but amongst those of a simpler character and within average powers, Laville's The Brookside, De Jong's Twilight Carol, and Madame Chaminade's Portrait (for a tenor voice) deserve mention.