... Sermo linguâ concinnus utrâque
Suavior: ut Chio nota si commista Falerni est.
Hor.
There is nothing that [has] more startled our _English_ Audience, than
the _Italian Recitativo_ at its first Entrance upon the Stage. People
were wonderfully surprized to hear Generals singing the Word of Command,
and Ladies delivering Messages in Musick. Our Country-men could not
forbear laughing when they heard a Lover chanting out a Billet-doux, and
even the Superscription of a Letter set to a Tune. The Famous Blunder in
an old Play of _Enter a King and two Fidlers Solus_, was now no longer
an Absurdity, when it was impossible for a Hero in a Desart, or a
Princess in her Closet, to speak anything unaccompanied with Musical
Instruments.
But however this _Italian_ method of acting in _Recitativo_ might appear
at first hearing, I cannot but think it much more just than that which
prevailed in our _English_ Opera before this Innovation: The Transition
from an Air to Recitative Musick being more natural than the passing
from a Song to plain and ordinary Speaking, which was the common Method
in _Purcell's_ Operas.
The only Fault I find in our present Practice, is the making use of
_Italian Recitative_ with _English_ Words.
To go to the Bottom of this Matter, I must observe, that the Tone, or
(as the _French_ call it) the Accent of every Nation in their ordinary
Speech is altogether different from that of every other People, as we
may see even in the _Welsh_ and _Scotch_, [who [1]] border so near upon
us. By the Tone or Accent, I do not mean the Pronunciation of each
particular Word, but the Sound of the whole Sentence. Thus it is very
common for an _English_ Gentleman, when he hears a _French_ Tragedy, to
complain that the Actors all of them speak in a Tone; and therefore he
very wisely prefers his own Country-men, not considering that a
Foreigner complains of the same Tone in an _English_ Actor.
For this Reason, the Recitative Musick in every Language, should be as
different as the Tone or Accent of each Language; for otherwise, what
may properly express a Passion in one Language, will not do it in
another. Every one who has been long in _Italy_ knows very well, that
the Cadences in the _Recitativo_ bear a remote Affinity to the Tone of
their Voices in ordinary Conversation, or to speak more properly, are
only the Accents of their Language made more Musical and Tuneful.
Thus the Notes of Interrogation, or Admiration, in the _Italian_ Musick
(if one may so call them) which resemble their Accents in Discourse on
such Occasions, are not unlike the ordinary Tones of an _English_ Voice
when we are angry; insomuch that I have often seen our Audiences
extreamly mistaken as to what has been doing upon the Stage, and
expecting to see the Hero knock down his Messenger, when he has been
[asking [2]] him a Question, or fancying that he quarrels with his
Friend, when he only bids him Good-morrow.
For this Reason the _Italian_ Artists cannot agree with our _English_
Musicians in admiring _Purcell's_ Compositions, [3] and thinking his
Tunes so wonderfully adapted to his Words, because both Nations do not
always express the same Passions by the same Sounds.
I am therefore humbly of Opinion, that an _English_ Composer should not
follow the _Italian_ Recitative too servilely, but make use of many
gentle Deviations from it, in Compliance with his own Native Language.
He may Copy out of it all the lulling Softness and _Dying Falls_ (as
_Shakespear_ calls them), but should still remember that he ought to
accommodate himself to an _English_ Audience, and by humouring the Tone
of our Voices in ordinary Conversation, have the same Regard to the
Accent of his own Language, as those Persons had to theirs whom he
professes to imitate. It is observed, that several of the singing Birds
of our own Country learn to sweeten their Voices, and mellow the
Harshness of their natural Notes, by practising under those that come
from warmer Climates. In the same manner, I would allow the _Italian_
Opera to lend our _English_ Musick as much as may grace and soften it,
but never entirely to annihilate and destroy it. Let the Infusion be as
strong as you please, but still let the Subject Matter of it be
_English_.
A Composer should fit his Musick to the Genius of the People, and
consider that the Delicacy of Hearing, and Taste of Harmony, has been
formed upon those Sounds which every Country abounds with: In short,
that Musick is of a Relative Nature, and what is Harmony to one Ear, may
be Dissonance to another.
The same Observations which I have made upon the Recitative part of
Musick may be applied to all our Songs and Airs in general.
Signior _Baptist Lully_ [4] acted like a Man of Sense in this
Particular. He found the _French_ Musick extreamly defective, and very
often barbarous: However, knowing the Genius of the People, the Humour
of their Language, and the prejudiced Ears [he [5]] had to deal with he
did not pretend to extirpate the _French_ Musick, and plant the
_Italian_ in its stead; but only to Cultivate and Civilize it with
innumerable Graces and Modulations which he borrow'd from the _Italian_.
By this means the _French_ Musick is now perfect in its kind; and when
you say it is not so good as the _Italian_, you only mean that it does
not please you so well; for there is [scarce [6]] a _Frenchman_ who
would not wonder to hear you give the _Italian_ such a Preference. The
Musick of the _French_ is indeed very properly adapted to their
Pronunciation and Accent, as their whole Opera wonderfully favours the
Genius of such a gay airy People. The Chorus in which that Opera
abounds, gives the Parterre frequent Opportunities of joining in Consort
with the Stage. This Inclination of the Audience to Sing along with the
Actors, so prevails with them, that I have sometimes known the Performer
on the Stage do no more in a Celebrated Song, than the Clerk of a Parish
Church, who serves only to raise the Psalm, and is afterwards drown'd in
the Musick of the Congregation. Every Actor that comes on the Stage is a
Beau. The Queens and Heroines are so Painted, that they appear as Ruddy
and Cherry-cheek'd as Milk-maids. The Shepherds are all Embroider'd, and
acquit themselves in a Ball better than our _English_ Dancing Masters. I
have seen a couple of Rivers appear in red Stockings; and _Alpheus_,
instead of having his Head covered with Sedge and Bull-Rushes, making
Love in a fair full-bottomed Perriwig, and a Plume of Feathers; but with
a Voice so full of Shakes and Quavers that I should have thought the
Murmurs of a Country Brook the much more agreeable Musick.
I remember the last Opera I saw in that merry Nation was the Rape of
_Proserpine_, where _Pluto_, to make the more tempting Figure, puts
himself in a _French_ Equipage, and brings _Ascalaphus_ along with him
as his _Valet de Chambre_. This is what we call Folly and Impertinence;
but what the _French_ look upon as Gay and Polite.
I shall add no more to what I have here offer'd, than that Musick,
Architecture, and Painting, as well as Poetry, and Oratory, are to
deduce their Laws and Rules from the general Sense and Taste of Mankind,
and not from the Principles of those Arts themselves; or, in other
Words, the Taste is not to conform to the Art, but the Art to the Taste.
Music is not design'd to please only Chromatick Ears, but all that are
capable ef distinguishing harsh from disagreeable Notes. A Man of an
ordinary Ear is a Judge whether a Passion is express'd in proper Sounds,
and whether the Melody of those Sounds be more or less pleasing. [7]