Korsakoff, Musorgsky, left La Khovantchina incomplete at his death. Rimsky orchestrated this opera, composing the last pages himself. He made several excisions, which later were restored in a version prepared by Stravinsky and Ravel. In relation to this episode Mr. Calvocoressi writes, "We can see, thanks to the work of Ravel and Stravinsky, that the score (published by Rimsky-Korsakoff in 1883) was little better than a libel. Rimsky-Korsakoff
good friends have talked me into putting them there, for I myself have never believed that my blood and a mechanical instrument go well together. The so-called 'elastic' tempo is moreover not a new invention. 'Con discrezione' should be added to that as to many things."
Singers, too, make many arbitrary changes in scores, sometimes because a tone is too high, sometimes because it is not high enough, sometimes for the same reason which led Rubinstein occasionally to startle academic hearers with cascades of false notes, because their memories fail them. Brahms may be quoted on this subject also. Because he had a severe cold and dreaded a certain high F, George Henschel wrote the composer asking if he would object if the singer substituted for that note another more convenient one. "Not in the least," replied Brahms. "As far as I am concerned, a thinking, sensible singer may, without hesitation, change a note which for some reason or other is for the time being out of his compass, into one which he can reach with comfort, provided always the declamation remains correct and the accentuation does not suffer." Certain changes of this nature have been made so frequently in opera airs that they have become traditional. It is no uncommon thing for an ignorant critic to severely condemn a singer for restoring the original, but infrequently heard, text.
