XXXI. This is the species of music, with which the Italians, by the
hand of their beloved master Duron, have regaled us; for he was the
man, who first introduced foreign modes into the music of Spain. It is
true, that since his time, these modes have been so refined, that if
Duron could now rise from his grave, he would not know them; but still,
the blame of all these novelties is imputable to him, for he was the
first who opened the door for their introduction. Virgil’s description
of the winds, may be applied to the airs of the Italian music.
_Qua data porta ruunt, & terras turbine perflant._
With regard to the science of music, we see verified in the Spaniards,
with respect to the Italians, that easy condescension in admitting
novelties, which Pliny lamented in the Italians themselves, with
respect to the Greeks: _Mutatur quotidie ars interpolis, & ingeniorum
Græciæ flatu impellimur._
XXXII. With all this, we are not without able composers in Spain, who
have not totally fallen in with the fashion, or who jointly, with
conforming to it, and judiciously combining the antient and modern
together, have wrote some valuable and delectable pieces of grammatical
music; in which, the sweetness and majesty of the old compositions
has been preserved. Speaking of this, brings afresh to my memory, the
savoury and luxuriant Literes; and I can’t help mentioning him a second
time, for he is a composer truly original. A character of elevated
sweetness, which is proper and natural to him, is resplendent in all
his works, and which never forsakes him, even when he sets words to
music, on amorous or profane subjects: so that even in songs of love,
or comic gallantry, he preserves a kind of sublimity, which can only
touch, or be felt by the superior part of the soul; this he manages
with such address, that he awakes tenderness, and at the same time
lulls lust to sleep. I would have this composer always employed in
writing for sacred subjects: because the genius of his compositions,
is better calculated to inspire celestial affections, than to foment
earthly amours. If some of his music, is less impregnated with that
tumultuous air and clatter, for which the works of many other authors
are admired: it, for that very reason, is, in my opinion, better
calculated for the use of churches; because music in them, demands a
serious gravity, which should sweetly calm the mind; and not a puerile
flightiness, which would excite to dance with castanets. Compositions
of the last kind are very easy, and are therefore made by many; those
of the first sort are difficult, and therefore but few attempt them.