XXVI. To see whether the music of these times suffers the same
shipwreck, which the before-named sciences underwent; let us examine,
in what the music, which is now practised, differs from that of the
antecedent age. The first and most remarkable distinction which occurs,
is the diminution of the figures. The shortest points which were
formerly known, were demi-semi quavers; and with them, it was imagined,
they had given to the execution of the chant, and the instruments, as
great a degree of velocity, as without doing violence to both, they
were capable of attaining. This did not seem sufficient, and a little
while afterwards, they invented dividing the demi-semi quavers into
thirds, by which means, the movement became one part in three quicker
than it was before. The extravagance of composers did not stop here,
for they doubled the demi-semi quavers, and made a movement, that, for
its rapidity, seems to have gone beyond the reach of imagination, which
can scarce conceive, how it is possible, in the compass of a bar, to
articulate or express sixty-four points. I don’t know whether before
this age, any double demi-semi quavers ever appeared figured in any
composition; except it was in the song of the Risuenor, which father
Kircher, in the middle of the last century, caused to be printed, in
the first book of his _Musurgia Universalis_; and I am even inclined
to think, that solfa savours of the hyperbolic; for it is not easy to
persuade me, that that bird, with all his agility and flexibility of
throat, could articulate sixty-four points, in the space of raising and
falling the hand, within the compass of regular time.
XXVII. I now say, this diminution of figures, instead of perfectioning
music, entirely spoils and ruins it; for two reasons: the first is,
that it will be very difficult to find a person, who either with
the voice, or an instrument, is capable of executing points of such
velocity. The before-cited father Kircher, says, that having made some
compositions which were out of the common track, and of difficult
execution, (though I believe they were not so difficult as those which
are now the fashion) he could not find in all Rome, a singer capable
of performing them. How then can you expect to find in every province,
and in every cathedral, instrumental performers and singers, who, in
exact time, and with the due intonation, are capable of executing these
exceeding minute figures; and to this difficulty, we may likewise add,
that of the many extravagant flights and jumps, which at present are
the fashion also. To articulate such a solfa, requires a throat of
prodigious volubility; and to express such music on an instrument,
demands admirable agility, and dexterity of hand; and, therefore, such
compositions are only fit for one or two very singular executionists,
which may be found in this or that particular court; but they should
not be printed for the use of the world at large; for the same singer,
who, with a natural and easy solfa, would give pleasure to the hearers,
would, by attempting these difficult passages, distract them; and from
the same hand, by which a sonata, of easy execution, would sound
delightsome and sweet, one of arduous difficulty would sound like the
talking of gibberish.
XXIV. The second reason why this diminution of figures destroys music,
is because it does not give space for the ear to perceive melody. As
the delight the eye receives by a well-disposed variety of colours,
could not be attained, if each was to pass the sight with so quick a
motion, that it could scarce make a distinct impression on the organ,
and it is the same with all sorts of visible objects; just so, if the
points into which music is divided are of so short a duration, as to
be incapable of acting distinctly on the ear, this organ, would not
perceive harmony but confusion. Further, this second inconvenience,
like the rest, is increased by the abuse, which, in their practice
is committed by instrumental performers; who, although they are but
slow or indifferent hands, generally make ostentation of playing with
great velocity; and commonly strive to execute the sonata, with more
rapidity than the composer intended, or than the character of the
music requires. From whence it follows, that by a defect in the most
essential part of the execution, which is precision and exactness,
the music loses its true and proper genius; and the by-standers hear
nothing but a confused clatter. Let every one then pursue the mode,
which is suitable to his talents and abilities; for if he, who is
heavy and slow of foot, endeavours to run as fast as him who is light
and nimble, his whole career will be nothing but stumbles: and if he,
who can only run, attempts to fly, he will soon fall, and dash himself
to pieces.
XXIX. The second distinction between antient and modern music, consists
in the frequency and excess of transitions in this last, from the
diatonic to the chromatic and enharmonic stile; and in often changing
the tones, by the introduction of sostenutos and B flats. This, as I
observed before, has a good effect, if it is done with moderation and
opportunely. But the Italians of this day, run to such an extravagant
excess with these transitions, that they force harmony off its hinges.
Whoever has any difficulty of believing this, let him, free from
prejudice or partiality, consult his own ears, whenever he hears any of
those sonatas or chants performed which abound much in accidentals.
XXX. The third distinction consists in the liberty which composers at
present take, of mixing in their music, all sorts of modulations that
occur to them; without confining themselves, either to imitation or
theme. The pleasure perceived by this music, which I will take the
liberty of calling loose and dishevelled, is vastly inferior to the
enjoyment afforded by that beautiful regularity and contrivance, with
which the masters of the last age, introduced a pleasing variety into
a passage; and especially, when the music was calculated for four
voices. Strangers are sensible of the high value of such compositions;
nor are excellent ones of this species wanting in other countries; but
composers in general, avoid writing in this stile, because the doing it
well, demands more labour and study, than they are commonly disposed
to take; so that if now and then they introduce, and begin pursuing
a passage, they quickly leave it, and give a loose to their fancy,
letting it run where it lifts. Strangers, who come to Spain, are for
the most part mere executionists, and therefore not capable of forming
this kind of music; because it requires more scientific knowledge, than
they are generally masters of; and therefore, to conceal that they are
deficient in point of ability, they endeavour to persuade people, the
method of pursuing passages is out of fashion.