imitate as much as possibly I could the _Cantabile_ of those who are
branded with the opprobrious Name of _Ancients_; and the _Allegro_ of
those who enjoy the delightful Appellation of _Moderns_. Though my Wish
is vain as to myself, it will be of Use to a prudent Scholar, who is
desirous to be expert in both Manners, which is the only way to arrive
at Perfection; but if one was to chuse, I should freely, without Fear of
being tax'd with Partiality, advise him to attach himself to the Taste
of the first.[55]
Sec. 22. Each Manner of Singing hath a different Degree of Eminence; the
Nervous and Strong is distinguished from the Puerile and Weak, as is the
Noble from the Vulgar.
Sec. 23. A Student must not hope for Applause, if he has not an utter
Abhorrence of Ignorance.
Sec. 24. Whoever does not aspire to the first Rank, begins already to give
up the second, and by little and little will rest contented with the
lowest.
Sec. 25. If, out of a particular Indulgence to the sex, so many female
Singers have the Graces set down in Writing, one that studies to become
a good Singer should not follow the Example; whoever accustoms himself
to have Things put in his Mouth, will have no Invention, and becomes a
Slave to his Memory.
Sec. 26. If the Scholar should have any Defects, of the Nose, the Throat,
or of the Ear, let him never sing but when the Master is by, or somebody
that understands the Profession, in order to correct him, otherwise he
will get an ill Habit, past all Remedy.
Sec. 27. When he studies his Lesson at Home, let him sometimes sing before
a Looking-glass, not to be enamoured with his own Person, but to avoid
those convulsive Motions of the Body, or of the Face (for so I call the
Grimaces of an affected Singer) which, when once they have took Footing,
never leave him.
Sec. 28. The best Time for Study is with the rising of the Sun; but those,
who are obliged to study, must employ all their Time which can be spared
from their other necessary Affairs.
Sec. 29. After a long Exercise, and the Attainment of a true Intonation, of
a _Messa di Voce_, of _Shakes_, of _Divisions_, and _Recitative_ well
expressed, if the Scholar perceives that his Master cannot teach him all
the Perfection of Execution required in the more refined Art of singing
the Airs, or if he cannot always be by his Side, then will he begin to
be sensible of the Need he has of that Study, in which the best Singer
in the World is still a Learner, and must be his own Master. Supposing
this Reflection just, I advise him for his first Insight, to read the
following Chapter, in order thereby to reap greater Advantage from those
that can sing the _Airs_, and teach to sing them.
CHAP. VII.
_Of_ Airs.
If whoever introduced the Custom of repeating the first Part of the
_Air_ (which is called _Da Capo_) did it out of a Motive to show the
Capacity of the Singer, in varying the Repetition, the Invention cannot
be blam'd by Lovers of Musick; though in respect of the Words it is
sometimes an Impropriety.[56]
Sec. 2. By the _Ancients_ beforementioned, _Airs_ were sung in three
different Manners; for the Theatre, the Stile was lively and various;
for the Chamber, delicate and finish'd; and for the Church, moving and
grave. This Difference, to very many _Moderns_, is quite unknown.
Sec. 3. A Singer is under the greatest Obligation to the Study of the
_Airs_; for by them he gains or loses his Reputation. To the acquiring
this valuable, Art, a few verbal Lessons cannot suffice; nor would it be
of any great Profit to the Scholar, to have a great Number of _Airs_, in
which a Thousand of the most exquisite Passages of different Sorts were
written down: For they would not serve for all Purposes, and there would
always be wanting that Spirit which accompanies extempore Performances,
and is preferable to all servile Imitations. All (I think) that can be
said, is to recommend to him an attentive Observation of the Art, with
which the best Singers regulate themselves to the Bass, whereby he will
become acquainted with their Perfections, and improve by them. In order
to make his Observations with the greater Exactness, let him follow the
Example of a Friend of mine, who never went to an Opera without a Copy
of all the Songs, and, observing the finest Graces, confin'd to the most
exact Time of the Movement of the Bass, he made thereby a great
Progress.[57]
Sec. 4. Among the Things worthy of Consideration, the first to be taken
Notice of, is the Manner in which all _Airs_ divided into three Parts
are to be sung. In the first they require nothing but the simplest
Ornaments, of a good Taste and few, that the Composition may remain
simple, plain, and pure; in the second they expect, that to this Purity
some artful Graces[58] be added, by which the Judicious may hear, that
the Ability of the Singer is greater; and, in, repeating the _Air_, he
that does not vary it for the better, is no great Master.
Sec. 5. Let a Student therefore accustom himself to repeat them always
differently, for, if I mistake not, one that abounds in Invention,
though a moderate Singer, deserves much more Esteem, than a better who
is barren of it; for this last pleases the Connoisseurs but for once,
whereas the other, if he does not surprise by the Rareness of his
Productions, will at least gratify your Attention with Variety.[59]
Sec. 6. The most celebrated among the _Ancients_ piqued themselves in
varying every Night their Songs in the Opera's, not only the
_Pathetick_, but also the _Allegro_. The Student, who is not well
grounded, cannot undertake this important Task.
Sec. 7. Without varying the _Airs_, the Knowledge of the Singers could
never be discovered; but from the Nature and Quality of the Variations,
it will be easily discerned in two of the greatest Singers which is the
best.
Sec. 8. Returning from this Digression to the abovementioned, repeating the
first Part of the _Air_ with Variation, the Scholar will therein find
out the Rules for Gracing, and introducing Beauties of his own
Invention: These will teach him, that Time, Taste, and Skill, are
sometimes of but small Advantage to one who is not ready at _extempore_
Embellishments; but they should not allow, that a Superfluity of them
should prejudice the Composition, and confound the Ear.[60]
Sec. 9. Let a Scholar provide himself with a Variety of Graces and
Embellishments, and then let him make use of them with Judgment; for if
he observes, he will find that the most celebrated Singers never make a
Parade of their Talent in a few Songs; well knowing, that if Singers
expose to the Publick all they have in their Shops, they are near
becoming Bankrupts.
Sec. 10. In the Study of _Airs_, as I have before said, one cannot take
Pains enough; for, though certain Things of small Effect may be omitted,
yet how can the Art be called perfect if the Finishing is wanted.
Sec. 11. In _Airs_ accompanied only a Bass, the Application of him who
studies Graces is only subject to Time, and to the Bass; but in those,
that are accompanied with more Instruments, the Singer must be also
attentive to their Movement, in order to avoid the Errors committed by
those who are ignorant of the Contrivance of such Accompaniments.
Sec. 12. To prevent several false Steps in singing the _Airs_, I would
strongly inculcate to a Student, first, never to give over practising in
private, till he is secure of committing no Error in Publick; and next,
that at the first Rehearsal the _Airs_ be sung without any other
Ornaments than those which are very natural; but with a strict
Attention, to examine at the same time in his Mind, where the artificial
ones may be brought in with Propriety in the second; and so from one
Rehearsal to another, always varying for the better, he will by Degrees
become a great Singer.
Sec. 13. The most necessary Study for singing _Airs_ in Perfection, and
what is more difficult than any other, is to seek for what is easy and
natural, as well as of beautiful Inventions. One who has the good
Fortune to unite such two rare Talents, with an agreeable _putting
forth_ of the Voice, is a very happy Singer.
Sec. 14. Let him, who studies under the Disadvantage of an ungrateful
Genius, remember for his Comfort, that singing in Tune, Expression,
_Messa di Voce_, the _Appoggiatura's_, _Shakes_, _Divisions_, and
accompanying himself, are the principal Qualifications; and no such
insuperable Difficulties, but what may be overcome. I know, they are not
sufficient to enable one to sing in Perfection; and that it would be
Weakness to content one's self with only singing tolerably well; but
Embellishments must be called in to their aid, which seldom refuse the
Call, and sometimes come unsought. Study will do the business.
Sec. 15. Let him avoid all those Abuses which have overspread and
established themselves in the _Airs_, if he will preserve Musick in its
Chastity.
Sec. 16. Not only a Scholar, but every Singer ought to forbear
_Caricatura's_, or mimicking others, from the very bad Consequences that
attend them. To make others laugh, hardly gains any one Esteem, but
certainly gives Offence; for no-body likes to appear ridiculous or
ignorant. This Mimicking arises for the most part from a concealed
Ambition to shew their own Merit, at another's Expence; not without a
Mixture of Envy and Spight. Examples shew us but too plainly the great
Injury they are apt to do, and that it well deserves Reproof; for
Mimickry has ruin'd more than one Singer.
Sec. 17. I cannot sufficiently recommend to a Student the exact keeping of
Time; and if I repeat the same in more than one place, there is more
than one Occasion that moves me to it; because, even among the
Professors of the first Rank there are few, but what are almost
insensibly deceived into an Irregularity, or hastening of Time, and
often of both; which though in the Beginning is hardly perceptible, yet
in the Progress of the _Air_ becomes more and more so, and at the last
the Variation, and the Error is discovered.
Sec. 18. If I do not advise a Student to imitate several of the _Moderns_
in their Manner of singing _Airs_, it is from their Neglect of keeping
Time, which ought to be inviolable, and not sacrificed to their beloved
Passages and Divisions.
Sec. 19. The Presumption of some Singers is not to be borne with, who
expect that an whole _Orchestre_ should stop in the midst of a
well-regulated Movement, to wait for their ill-grounded Caprices,
learned by Heart, carried from one Theatre to another, and perhaps
stolen from some applauded female Singer, who had better Luck than
Skill, and whose Errors were excused in regard to her Sex.----Softly,
softly with your Criticism, says one; this, if you do not know it, is
called Singing after the _Mode_----Singing after the _Mode_?----I say,
you are mistaken. The stopping in the _Airs_ at every second and fourth,
and on all the sevenths and sixths of the Bass, was a bad Practice of
the ancient Masters, disapproved fifty Years ago by _Rivani_, called
_Ciecolino_,[61] who with invincible Reasons shewed the proper Places
for Embellishments, without begging Pauses. This Percept was approved by
several eminent Persons, among whom was Signer _Pistochi_,[62] the most
famous of our, and all preceding Times, who has made himself immortal,
by shewing the way of introducing Graces without transgressing against
Time. This Example alone, which is worth a Thousand (O my rever'd
_Moderns_!) should be sufficient to undeceive you. But if this does not
satisfy you, I will add, that _Sifacio_[63] with his mellifluous Voice
embrac'd this Rule; that _Buzzolini_[64] of incomparable Judgment highly
esteemed it: After them _Luigino_[65] with his soft and amorous Stile
followed their Steps; likewise _Signora Boschi_[66] who, to the Glory of
her Sex, has made it appear, that Women, who study, may instruct even
Men of some Note. That _Signora Lotti_,[67] strictly keeping to the
same Rules, with a penetrating Sweetness of Voice, gained the Hearts of
all her Hearers. If Persons of this Rank, and others at present
celebrated all over _Europe_, whom I forbear to name; if all these have
not Authority enough to convince you, that you have no Right to alter
the Time by making Pauses, consider at least, that by this Error in
respect of Time, you often fall into a greater, which is, that the Voice
remains unaccompanied, and deprived of Harmony; and thereby becomes flat
and tiresome to the best Judges. You will perhaps say in Excuse, that
few Auditors have this Discernment, and that there are Numbers of the
others, who blindly applaud every thing that has an Appearance of
Novelty. But whose fault is this? An Audience that applauds what is
blameable, cannot justify your Faults by their Ignorance; it is your
Part to set them right, and, laying aside your ill-grounded Practice,
you should own, that the Liberties you take are against Reason, and an
insult upon all those instrumental Performers that are waiting for you,
who are upon a Level with you, and ought to be subservient only to the
Time. In short, I would have you reflect, that the abovementioned
Precept will always be of Advantage to you; for though under the
neglecting of it, you have a Chance to gain Applause of the Ignorant
only; by observing it, you will justly merit that of the Judicious, and
the Applause will become universal.
Sec. 20. Besides the Errors in keeping Time, there are other Reasons, why a
Student should not imitate the _modern_ Gentlemen in singing _Airs_,
since it plainly appears that all their Application now is to divide
and subdivide in such a Manner, that it is impossible to understand
either Words, Thoughts, or Modulation, or to distinguish one _Air_ from
another, they singing them all so much alike, that, in hearing of one,
you hear a Thousand.----And must the _Mode_ triumph? It was thought, not
many Years since, that in an Opera, one rumbling _Air_, full of
Divisions was sufficient for the most gurgling Singer to spend his
Fire[68]; but the Singers of the present Time are not of that Mind, but
rather, as if they were not satisfied with transforming them all with a
horrible Metamorphosis into so many Divisions, they, like Racers, run
full Speed, with redoubled Violence to their final Cadences, to make
Reparation for the Time they think they have lost during the Course of
the _Air_. In the following Chapter, on the tormented and tortured
Cadences, we shall shortly see the good Taste of the _Mode_; in the mean
while I return to the Abuses and Defects in _Airs_.
Sec. 21. I cannot positively tell, who that _Modern_ Composer, or that
ungrateful Singer was, that had the Heart to banish the delightful,
soothing, _Pathetick_ from _Airs_, as if no longer worthy of their
Commands, after having done them so long and pleasing Service. Whoever
he was, it is certain, he has deprived the Profession of its most
valuable Excellence. Ask all the Musicians in general, what their
Thoughts are of the _Pathetick_, they all agree in the same Opinion, (a
thing that seldom happens) and answer, that the _Pathetick_ is what is
most delicious to the Ear, what most sweetly affects the Soul, and is
the strongest Basis of Harmony. And must we be deprived of these Charms,
without knowing the Reason why? Oh! I understand you: I ought not to ask
the Masters, but the Audience, those capricious Protectors of the
_Mode_, that cannot endure this; and herein lies my Mistake. Alas! the
_Mode_ and the Multitude flow like Torrents, which, when at their
Height, having spent their Violence, quickly disappear. The Mischief is
in the Spring itself; the Fault is in the Singers. They praise the
_Pathetick_, yet sing the _Allegro_. He must want common Sense that does
not see through them. They know the first to be the most Excellent, but
they lay it aside, knowing it to be the most difficult.
Sec. 22. In former times divers _Airs_ were heard in the Theatre in this
delightful Manner, preceded and accompanied with harmonious and
well-modulated Instruments, that ravished the Senses of those who
comprehended the Contrivance and the Melody; and if sung by one of those
five or six eminent Persons abovementioned, it was then impossible for a
human Soul, not to melt into Tenderness and Tears from the violent
Motion of the Affections. Oh! powerful Proof to confound the idoliz'd
_Mode_! Are there in these Times any, who are moved with Tenderness, or
Sorrow?----No, (say all the Auditors) no; for, the continual singing of
the _Moderns_ in the _Allegro_ Stile, though when in Perfection That
deserves Admiration, yet touches very slightly one that hath a delicate
Ear. The Taste of the _Ancients_ was a Mixture of the _Lively_ and the
_Cantabile_ the Variety of which could not fail giving Delight; but the
_Moderns_ are so pre-possessed with Taste in _Mode_, that, rather than
comply with the former, they are contented to lose the greatest Part of
its Beauty. The Study of the _Pathetick_ was the Darling of the former;
and Application to the most difficult Divisions is the only Drift of the
latter. _Those_ perform'd with more Judgment; and _These_ execute with
greater Boldness. But since I have presum'd to compare the most
celebrated Singers in both Stiles, pardon me if I conclude with saying,
that the _Moderns_ are arrived at the highest Degree of Perfection in
singing to the _Ear_; and that the _Ancients_ are inimitable in singing
to the _Heart_.
Sec. 23. However, it ought not to be denied, but that the best Singers of
these times have in some Particulars refined the preceding Taste, with
some Productions worthy to be imitated; and as an evident Mark of
Esteem, we must publicly own, that if they were but a little more
Friends to the _Pathetick_ and the _Expressive_, and a little less to
the _Divisions_, they might boast of having brought the Art to the
highest Degree of Perfection.
Sec. 24. It may also possibly be, that the extravagant Ideas in the present
Compositions, have deprived the abovementioned Singers of the
Opportunity of shewing their Ability in the _Cantabile_; in as much as
the _Airs_ at present in vogue go Whip and Spur with such violent
Motions, as take away their Breath, far from giving them an Opportunity
of shewing the Exquisiteness of their Taste. But, good God! since there
are so many _modern_ Composers, among whom are some of Genius equal, and
perhaps greater than the best _Ancients_, for what Reason or Motive do
they always exclude from their Compositions, the so-much-longed-for
_Adagio_? Can its gentle Nature ever be guilty of a Crime? If it cannot
gallop with the _Airs_ that are always running Post, why not reserve it
for those that require Repose, or at least for a compassionate one,
which is to assist an unfortunate Hero, when he is to shed Tears, or die
on the Stage?----No, Sir, No; the grand _Mode_ demands that he be quick,
and ready to burst himself in his Lamentations, and weep with
Liveliness. But what can one say? The Resentment of the _modern_ Taste
is not appeased with the Sacrifice of the _Pathetick_ and the _Adagio_
only, two inseparable Friends, but goes so far, as to prescribe those
_Airs_, as Confederates, that have not the _Sharp_ third. Can any thing
be more absurd? _Gentlemen Composers_, (I do not speak to the eminent,
but with all due Respect) Musick in my Time has chang'd its Stile three
times: The first which pleased on the Stage, and in the Chamber, was
that of _Pier. Simone_[69], and of _Stradella_[70]; the second is of
the best that now living[71]; and I leave others to judge whether they
are _Modern_. But of your Stile, which is not quite established yet in
_Italy_, and which has yet gained no Credit at all beyond the _Alps_,
those that come after us will soon give their Opinion; for _Modes_ last
not long. But if the Profession is to continue, and end with the World,
either you yourselves will see your Mistake, or your Successors will
reform it. Wou'd you know how? By banishing the Abuses, and recalling
the first, second, and third _Mood_[72], to relieve the fifth, sixth,
and eighth, which are quite jaded. They will revive the fourth and
seventh now dead to you, and buried in Churches, for the final Closes.
To oblige the Taste of the Singers and the Hearers, the _Allegro_ will
now and then be mixed with the _Pathetick_. The _Airs_ will not always
be drowned with the Indiscretion of the Instruments, that hide the
artful Delicacy of the _Piano_, and the soft Voices, nay, even all
Voices which will not bawl: They will no longer bear being teased with
_Unisons_[73], the Invention of Ignorance, to hide from the Vulgar the
Insufficiency and Inability of many Men and Women Singers: They will
recover the instrumental Harmony now lost: They will compose more for
the Voice than the Instruments: The part for the Voice will no more have
the Mortification to resign its Place to the Violins: The _Soprano's_
and _Contr'Alto's_ will no more sing the _Airs_ in the Manner of the
Bass, in Spight of a thousand _Octaves_: And, finally, their _Airs_ will
be more affecting, and less alike; more studied, and less painful to the
Singer; and so much the more grand, as they are remote from the Vulgar.
But, methinks, I hear it said, that the theatrical Licence is great,
and that the _Mode_ pleases, and that I grow too bold. And may I not
reply, that the Abuse is greater, that the Invention is pernicious, and
that my Opinion is not singular. Am I the only Professor who knows that
the best Compositions are the Cause of singing well, and the worst very
prejudicial? Have we not more than once heard that the Quality of the
Compositions has been capable, with a few Songs, of establishing the
Reputation of a middling Singer, and destroying That of one who had
acquired one by Merit? That Musick, which is composed by one of Judgment
and Taste, instructs the Scholar, perfects the Skilful, and delights the
Hearer. But since we have opened the Ball, let us dance.
Sec. 25. He that first introduced Musick on the Stage, probably thought to
lead her to a Triumph, and raise her to a Throne. But who would ever
have imagined, that in the short Course of a few Years, she should be
reduced to the fatal Circumstance of seeing her own Tragedy? Ye pompous
Fabricks of the Theatres! We should look upon you with Horror, being
raised from the Ruins of Harmony: You are the Origin of the Abuses, and
of the Errors: From You is derived the _modern_ Stile and the Multitude
of Ballad-makers: You are the only Occasion of the Scarcity of judicious
and well-grounded Professors, who justly deserve the Title of
Chapel-Master[74]; since the poor Counterpoint[75] has been condemned,
in this corrupted Age, to beg for a Piece of Bread in Churches, whilst
the Ignorance of many exults on the Stage, the most part of the
Composers have been prompted from Avarice, or Indigence, to abandon in
such Manner the true Study, that one may foresee (if not succoured by
those few, that still gloriously sustain its dearest Precepts) Musick,
after having lost the Name of Science, and a Companion of Philosophy,
will run the Risque of being reputed unworthy to enter into the sacred
Temples, from the Scandal given there, by their Jiggs, Minuets, and
Furlana's[76]; and, in fact, where the Taste is so deprav'd, what would
make the Difference between the Church-Musick, and the Theatrical, if
Money was received at the Church Doors?
Sec. 26. I know that the World honours with just Applause some, tho' few
Masters, intelligent in both Stiles, to whom I direct the Students in
order to their singing well; and if I confine the Masters to so small a
Number, I do beg Pardon of those who should be comprehended therein;
hoping easily to obtain it, because an involuntary Error does not
offend, and an eminent Person knows no other Envy but virtuous
Emulation. As for the Ignorant, who for the most part are not used to
indulge any, but rather despise and hate every thing they do not
comprehend, they will be the Persons from whom I am to expect no
Quarter.