learned the _Counterpoint_? he answered immediately from the Instrument,
(_i.e._, the Harpsichord)--Very well. I asked farther, in what _Tone_
have you composed the Introduction of your Opera?----What _Tone_! what
_Tone_! (breaking in upon me abruptly) with what musty Questions are you
going to disturb my Brains? One may easily perceive from what School
you come. The _Moderns_, if you do not know it, acknowledge no other
_Tone_ but one[77]; they laugh, with Reason, at the silly Opinion of
those who imagine there are two, as well as at those who maintain, that
their being divided into _Authentick_ and _Plagal_, they become Eight,
(and more if there were need) and prudently leave it to everybody's
Pleasure to compose as they like best. The World in your Time was
asleep, and let it not displease you, if our merry and brisk Manner has
awakened it with a Gayety so pleasing to the Heart, that it incites one
to dance. I would have you likewise be lively before you die, and,
abandoning your uncouth Ideas, make it appear, that old Age can be
pleased with the Productions of Youth; otherwise you will find, that
you will be condemned by your own Words, that Ignorance hates all that
is excellent. The polite Arts have advanced continually in Refinement,
and if the rest were to give me the Lie, Musick would defend me Sword in
Hand; for she cannot arrive at a higher Pitch. Awake therefore, and, if
you are not quite out of your Senses, hearken to me; and you will
acknowledge that I speak candidly to you; and for a Proof be it known to
you----
Sec. 28. That our delicious Stile has been invented to hide with the fine
Name of _Modern_ the too difficult Rules of the _Counterpoint_, cannot
be denied.
Sec. 29. That there is an inviolable Rule amongst us, to banish for ever
the _Pathetick_, is very true; because we will have no Melancholy.
Sec. 30. But, that we should be told by the old _Bashaws_, that we strive
who can produce most extravagant Absurdities never heard before, and
that we brag to be the Inventors of them ourselves, are the malign
Reflections of those who see us exalted. Let Envy burst. You see, that
the general Esteem which we have acquired, gives it for us; and if a
Musician is not of our Tribe, he will find no Patron or Admirer. But
since we are now speaking in Confidence and with Sincerity, who can sing
or compose well, without our Approbation? Let them have ever so much
Merit (you know it) we do not want Means to ruin him; even a few
Syllables will suffice: It is only saying, He is an _Ancient_.
Sec. 31. Tell me, I beseech you, who, without us, could have brought Musick
to the Height of Happiness, with no greater Difficulty than taking from
the _Airs_ that tiresome Emulation of the first and second Violin, and
of the Tenor? Is there any that ever durst usurp the Glory of it? We, we
are those, who by our Ingenuity have raised her to this Degree of
Sublimity, in taking also from her that noisy murmuring of the
fundamental Basses, in such Manner,----(mark me well, and learn) that
if in an _Orchestre_ there were an hundred Violins, we are capable of
composing in such a Manner, that all and every one shall play the very
_Air_ which the Voice sings. What say you to that? Can you have the Face
to find Fault with us?
Sec. 32. Our most lovely Method, that obliges none of us to the painful
Study of the Rules; which does not disquiet the Mind with the Anxiety of
Speculation, nor delude us with the Study of reducing them into
Practice; that does not prejudice the Health; that enchants the Ear _a
la Mode_; that finds those who love it, who prize it, and who pay for it
the Weight in Gold; and dare you to criticise upon it?
Sec. 33. What shall we say of the obscure and tedious Compositions of those
whom you celebrate as the Top of the Universe, tho' your Opinion goes
for nothing? Don't you perceive that those old-fashioned Crabbednesses
are disgustful? We should be great Fools to grow pale, and become
paralytick in studying and finding out in the Scores, the Harmony, the
_Fugues_, their _Reverses_, the _Double Counterpoint_, the
Multiplication of Subjects, to contract them closer, to make _Canons_,
and such other dry Stuff, that are no more in _Mode_, and (what is
worse) are of little Esteem, and less Profit. What say you now to this,
_Master Critick_? Have you comprehended me?----Yes, Sir. Well, what
Answer do you make me?----None.
Sec. 34. Really, I am astonished, O beloved Singers, at the profound
Lethargy in which you remain, and which is so much to your Disadvantage.
'Tis You that ought to awaken, for now is the Time, and tell the
Composers of this Stamp, that your Desire is to Sing, and not to Dance.
CHAP. VIII.
_Of_ Cadences.[78]
The _Cadences_, that terminate the _Airs_, are of two Sorts. The
Composers call the one _Superior_, and the other _Inferior_. To make
myself better understood by a Scholar, I mean, if a _Cadence_ were in
_C_ natural, the Notes of the first would be _La, Sol, Fa;_ and those of
the second _Fa, Mi, Fa_. In _Airs_ for a single Voice, or in
_Recitatives_, a Singer may chuse which of these _Closes_ or _Cadences_
pleases him best; but if in Concert with other Voices, or accompanied
with Instruments, he must not change the Superior for the Inferior, nor
this with the other.[79]
Sec. 2. It would be superfluous to speak of the broken _Cadences_, they
being become familiar even to those who are not Professors of Musick,
and which serve at most but in _Recitatives_.[80]
Sec. 3. As for those _Cadences_ that fall a fifth, they were never composed
in the old Stile for a _Soprano_, in an _Air_ for a single Voice, or
with Instruments, unless the Imitation of some Words had obliged the
Composer thereto. Yet these, having no other Merit, but of being the
easiest of all, as well for the Composer as for the Singer, are at
present the most prevailing.[81]
Sec. 4. In the Chapter on _Airs_, I have exhorted the Student to avoid that
Torrent of _Passages_ and _Divisions_, so much in the _Mode_, and did
engage myself also, to give my weak Sentiments on the _Cadences_ that
are now current; and I am now ready: But, however, with the usual
Protestation of submitting them, with all my other Opinions, to the
Tribunal of the Judicious, and those of Taste, from whence there is no
Appeal; that they, as sovereign Judges of the Profession, may condemn
the Abuses of the _modern Cadences_, or the Errors of my Opinion.
Sec. 5. Every _Air_ has (at least) three _Cadences_, that are all three
final. Generally speaking, the Study of the Singers of the present Times
consists in terminating the _Cadence_ of the first Part with an
overflowing of _Passages_ and _Divisions_ at Pleasure, and the
_Orchestre_ waits; in that of the second[82] the Dose is encreased, and
the _Orchestre_ grows tired; but on the last _Cadence_, the Throat is
set a going, like a Weather-cock in a Whirlwind, and the _Orchestre_
yawns. But why must the World be thus continually deafened with so many
_Divisions_? I must (with your leave, _Gentlemen Moderns_) say in Favour
of the Profession, that good Taste does not consist in a continual
Velocity of the Voice, which goes thus rambling on, without a Guide, and
without Foundation; but rather, in the _Cantabile_, in the putting forth
the Voice agreeably, in _Appoggiatura's_, in Art, and in the true Notion
of Graces, going from one Note to another with singular and unexpected
Surprizes, and stealing the Time exactly on the true _Motion_ of the
Bass. These are the principal and indispensible Qualities which are most
essential to the singing well, and which no musical Ear can find in your
capricious _Cadences_. I must still add, that very _anciently_ the Stile
of the Singers was insupportable, (as I have been informed by the
Master who taught me to _Sol-fa_) by reason of the Number of _Passages_
and _Divisions_ in their _Cadences_, that never were at an end, as they
are now; and that they were always the same, just as they are now. They
became at last so odious, that, as a Nusance to the Sense of Hearing,
they were banished without so much as attempting their Correction. Thus
will it also happen to These, at the first Example given by a Singer
whose Credit is established, and who will not be seduced by a vain
popular Applause. This Reformation the succeeding Professors of Eminence
prescribed to themselves as a Law, which perhaps would not have been
abolished, were they in a Condition to be heard; but the Opulency of
some, Loss of the Voice, Age and Death of others, has deprived the
Living from hearing what was truly worthy our Admiration in Singing. Now
the Singers laugh at the Reformers, and their Reformation of the
_Passages_ in the _Cadences_; and on the contrary, having recalled them
from their Banishment, and brought them on the Stage, with some little
_Caricatura_ to boot, they impose them on the Ignorant for rare
Inventions, and gain themselves immense Sums; it giving them no Concern
that they have been abhorr'd and detested for fifty or sixty Years, or
for an hundred Ages. But who can blame them? However, if Reason should
make this Demand of them, with what unjust Pretence can you usurp the
Name of _Moderns_, if you sing in a most _Ancient_ Stile? Perhaps, you
think that these overflowings of your Throat are what procure you Riches
and Praises? Undeceive yourselves, and thank the great Number of
Theatres, the Scarcity of excellent Performers, and the Stupidity of
your Auditors. What could they answer? I know not. But let us call them
to a stricter Account.
Sec. 6. _Gentlemen Moderns_, can you possibly deny, but that you laugh
among yourselves, when you have Recourse to your long-strung _Passages_
in the _Cadences_, to go a begging for Applause from the blind Ignorant?
You call this Trick by the Name of an _Alms_, begging for Charity as it
were for those _E Viva's_, which, you very well know, you do not deserve
from Justice. And in return you laugh at your Admirers, tho' they have
not Hands, Feet, nor Voice enough to applaud you. Is this Justice? Is
this Gratitude?----Oh! if they ever should find you out! My beloved
Singers, tho' the Abuses of your _Cadences_ are of use to you, they are
much more prejudicial to the Profession, and are the greatest Faults you
can commit; because at the same time you know yourselves to be in the
Wrong. For your own Sakes undeceive the World, and employ the rare
Talent you are endowed with on Things that are worthy of you. In the
mean while I will return with more Courage to my Opinions.
Sec. 7. I should be very desirous to[83] know, on what Foundation certain
_Moderns_ of Reputation, and great Name, do on the superior _Cadences_
always make the _Shake_ on the third in _Alt_ to the final Note; since
the _Shake_ (which ought to be resolved) cannot be so in this Case, by
reason of that very third, which being the sixth of the Bass hinders it,
and the _Cadence_ remains without a Resolution. If they should go so far
as to imagine, that the best Rules depended on the _Mode_, I should
notwithstanding think, they might sometimes appeal to the Ear, to know
if That was satisfied with a _Shake_ beaten with the seventh and the
sixth on a Bass which makes the _Cadence_; and I am sure it would
answer. No. From the Rules of the _Ancients_ we learn, that the _Shake_
is to be prepared on the sixth of the Bass, that after it the fifth may
be heard, for that is its proper Place.
Sec. 8. Some others of the same Rank make their _Cadences_ in the Manner of
the Basses, which is, in falling a fifth, with a Passage of Swift Notes
descending gradually, supposing that by this Means they cover the
_Octaves_, which, tho' disguised, will still appear.
Sec. 9. I hold it also for certain, that no Professor of the first Rank, in
any _Cadence_ whatsoever, can be allowed to make _Shakes_, or
_Divisions_, on the last Syllables but one of these
Words,--_Confondero_--_Amero_, &c. for they are Ornaments that do not
suit on those Syllables which are short, but do well on the
Antecedent.[84]
Sec. 10. Very many of the second Class end the inferior _Cadences_ in the
_French_ Manner without a _Shake_[85], either for want of Ability to
make one, or from its being easy to copy them, or from their Desire of
finding out something that may in Appearance support the name of
_Modern_. But in Fact they are mistaken; for the _French_ do not leave
out the _Shake_ on the inferior _Cadences_, except in the _Pathetick
Airs_; and our _Italians_, who are used to over-do the _Mode_, exclude
it every where, tho' in the _Allegro_ the _Shake_ is absolutely
necessary. I know, that a good Singer may with Reason abstain from the
_Shake_ in the _Cantabile_; however, it should be rarely; for if one of
those _Cadences_ be tolerable without that pleasing Grace, it is
absolutely impossible not to be tired at length, with a Number one after
another that die suddenly.
Sec. 11. I find that all the _Moderns_ (let them be Friends or Foes to the
_Shake_) in the inferior _Cadences_ beforementioned go with an
_Appoggiatura_ to the final Note, on the penultimate Syllable of a Word;
and this likewise is a Defect, it appearing to me, that on such
Occasions the _Appoggiatura_ is not pleasing but on the last Syllable,
after the Manner of the _Ancients_, or of those who know how to
sing.[86]
Sec.12. If, in the inferior _Cadences_, the best Singers of these Days
think they are not in the wrong in making you hear the final Note before
the Bass[87], they deceive themselves grossly; for it is a very great
Error, hurts the Ear, and is against the Rules; and becomes doubly so,
going (as they do) to the same Note with an _Appoggiatura_, the which
either ascending or descending, if not after the Bass[88], is always
very bad.
Sec. 13. And is it not worst of all, to torment the Hearers with a thousand
_Cadences_ all in the same Manner? From whence proceeds this Sterility,
since every Professor knows, that the surest way of gaining Esteem in
Singing is a Variety in the Repetition?
Sec. 14. If among all the _Cadences_ in the _Airs_, the last allows a
moderate Liberty to the Singer, to distinguish the end of them, the
Abuse of it is insufferable. But it grows abomable, when the Singer
persists with his tiresome Warbling, nauseating the Judicious, who
suffer the more, because they know that the Composers leave generally in
every _final Cadence_ some Note, sufficient to make a discreet
Embellishment; without seeking for it out of Time, without Taste,
without Art, and without Judgment.[89]
Sec. 15. I am still more surprised when I reflect, that the _modern_ Stile,
after having exposed all the _Cadences_ of the theatrical _Airs_ to the
Martyrdom of a perpetual Motion, will likewise have the Cruelty to
condemn to the same Punishment not Those in the _Cantata's_ only, but
also the _Cadences_ of their _Recitatives_. Do these Singers pretend, by
their not distinguishing the Chamber-Musick from the immoderate
_Gargling_ of the Stage, to expect the vulgar _E Viva's_ in the Cabinet
of Princes?
Sec. 16. Let a sensible Student avoid this Example, and with this Example
the Abuses, the Defects, and every other Thing that is mean and common,
as well in the _Cadences_ as elsewhere.
Sec. 17. If, the inventing particular _Cadences_ without injuring the Time,
has been one of the worthy Employments of the _Ancients_ (so call'd) let
a Student revive the Use of it; endeavouring to imitate them in their
Skill of somewhat anticipating the Time; and remember, that Those, who
understand the Art of Gracing, do not wait to admire the Beauty of it in
a Silence of the Bass.
Sec. 18. Many and many other Errors are heard in the _Cadences_ that were
_Antique_, and which are now become _Modern_; they were ridiculous then,
and are so now; therefore considering, that to change the Stile is not
always to improve it, I may fairly conclude, that what is bad is to be
corrected by Study, and not by the _Mode_.
Sec. 19. Now let us for a while leave at Rest the Opinions of the aforesaid
Ancients, and the supposed _Moderns_, to take notice what Improvement
the Scholar has made, since he is desirous of being heard. Well then,
let him attend, before we part with him, to Instructions of more Weight,
that he may at least deserve the Name of a good Singer, though he may
not arrive at that of an eminent one.
CHAP. IX.
_Observations for a Singer._[90]
Behold the Singer now appearing in Publick, from the Effects of his
Application to the Study of the foregoing Lessons. But to what Purpose
does he appear? Whoever, in the great Theatre of the World, does not
distinguish himself, makes but a very insignificant Figure.
Sec. 2. From the cold Indifference perceived in many Singers, one would
believe that the Science of Musick implored their Favour, to be
received by them as their most humble Servant.
Sec. 3. If too many did not persuade themselves that they had studied
sufficiently, there would not be such a Scarcity of the Best, nor such a
Swarm of the Worst. These, because they can sing by Heart three or four
_Kyrie's_[91], think they are arrived at the _Non plus ultra_; but if
you give them a _Cantata_ to sing, that is even easy, and fairly
written, they, instead of complying as they ought, will tell you with an
impudent Face, that Persons of their Degree are not obliged to sing in
the vulgar Tongue at Sight. And who can forbear laughing? For a Musician
knowing that the Words, let them be either _Latin_ or _Italian_, do not
change the Form of the Notes, must immediately conclude, that this pert
Answer of the great Man proceeds from his not being able to sing at
Sight, or from his not knowing how to read; and he judges right.
Sec. 4. There are an infinite Number[92] of others, who wish and sigh for
the Moment that eases them from the painful Fatigue of their first
Studies, hoping to have a Chance to make one in the Crowd of the second
Rate; and stumbling by good Luck on something that gives them Bread,
they immediately make a Legg to Musick and its Study, not caring whether
the World knows they are, or are not among the Living. These do not
consider that _Mediocrity_ in a Singer means _Ignorance_.
Sec. 5. There are also several who study nothing but the Defects, and are
endow'd with a marvelous Aptness to learn them all, having so happy a
Memory as never to forget them. Their Genius is so inclined to the Bad,
that if by Gift of Nature they had the best of Voices, they would be
discontented if they could not find some Means to make it the worst.
Sec. 6. One of a better Spirit will endeavour to keep better Company. He
will be sensible of the Necessity of farther Discoveries, of farther
Instructions, and even of another Master, of whom, besides the Art of
Singing, he would be glad to learn how to behave himself with good
Breeding. This, added to the Merit acquired by his Singing, may give him
Hopes of the Favour of Princes, and of an universal Esteem.
Sec. 7. If he aims at the Character of a young Man of Wit and Judgment, let
him not be vulgar or too bold.
Sec. 8. Let him shun low and disreputable Company, but, above all, such as
abandon themselves to scandalous Liberties.
Sec. 9. That Professor ought not to be frequented, though excellent in this
Art, whose behaviour is vulgar and discreditable, and who cares not,
provided he makes his Fortune, whether it be at the Expence of his
Reputation.
Sec. 10. The best School is the Nobility, from whom every thing that is
genteel is to be learned; but when a Musician finds that his Company is
not proper, let him retire without repining, and his Modesty will be to
his Commendation.
Sec. 11. If he should not meet with a Gratification from the Great, let him
never complain; for it is better to get but little, than to lose a great
deal, and that is not seldom the Case. The best he can do, is to be
assiduous in serving them, that at least he may hope for the Pleasure of
seeing them for once grateful, or be convinced for ever of their being
ungrateful.
Sec. 12. My long and repeated Travels have given me an Opportunity of being
acquainted with most of the Courts of _Europe_, and Examples, more than
my Words, should persuade every able Singer to see them also; but
without yielding up his Liberty to their Allurements: For Chains,
though of Gold, are still Chains; and they are not all of that precious
Metal: Besides, the several Inconveniencies of Disgrace, Mortifications,
Uncertainty; and, above all, the Hindrance of Study.
Sec. 13.[93] The golden Age of Musick would be already at an End, if the
Swans did not make their Nests on some Theatres in _Italy_, or on the
royal Banks of the _Thames_. O dear _London_!----On the other Streams,
they sing no more as they used to do their sweet Notes at their
expiring; but rather sadly lament the Expiration of those august and
adorable Princes, by whom they were tenderly belov'd and esteemed. This
is the usual Vicissitude of Things in this World; and we daily see, that
whatever is sublunary must of Necessity decline. Let us leave the Tears
to the Heart, and return to the Singer.
Sec. 14. A discreet Person will never use such affected Expressions as, _I
cannot sing To-day;--I've got a deadly Cold;_ and, in making his Excuse,
falls a Coughing. I can truly say, that I have never in my Life heard a
Singer own the Truth, and say, _I'm very well to-day_: They reserve the
unseasonable Confession to the next Day, when they make no Difficulty to
say, _In all my Days my Voice was never in better Order than it was
Yesterday_. I own, on certain Conjunctures, the Pretext is not only
suitable, but even necessary; for, to speak the Truth, the indiscreet
Parsimony of some, who would hear Musick for Thanks only, goes so far,
that they think a Master is immediately obliged to obey them _gratis_,
and that the Refusal is an Offence that deserves Resentment and Revenge.
But if it is a Law human and divine, that every Body should live by
their honest Labour, what barbarous Custom obliges a Musician to serve
without a Recompence? A cursed Over-bearing; O sordid Avarice!
Sec. 15. A Singer, that knows the World, distinguishes between the
different Manners of Commanding; he knows how to refuse without
disobliging, and how to obey with a good Grace; not being ignorant, that
one, who has his Interest most at Heart, sometimes finds his Account in
serving without a Gratification.
Sec. 16. One who sings with a Desire of gaining Honour and Credit, cannot
sing ill, and in time will sing better; and one, who thinks on nothing
but Gain, is in the ready way to remain ignorant.
Sec. 17. Who would ever think (if Experience did not shew it) that a Virtue
of the highest Estimation should prejudice a Singer? And yet, whilst
Presumption and Arrogance triumph (I'm shock'd to think on't) amiable
Humility, the more the Singer has of it, the more it depresses him.
Sec. 18. At first Sight, Arrogance has the Appearance of Ability; but,
upon a nearer View, I can discover Ignorance in Masquerade.
Sec. 19. This Arrogance serves them sometimes, as a politick Artifice to
hide their own Failings: For Example, certain Singers would not be
unconcern'd, under the Shame of not being able to sing a few Barrs at
Sight, if with Shrugs, scornful Glances, and malicious shaking of their
Heads, they did not give the Auditors to understand that those gross
Errors are owing to him that accompanies, or to the _Orchestre_.
Sec. 20. To humble such Arrogance, may it never meet with that Incense
which it expects.
Sec. 21. Who could sing better than the Arogant, if they were not ashamed
to study?
Sec. 22. It is a Folly in a Singer to grow vain at the first Applauses,
without reflecting whether they are given by Chance, or out of Flattery;
and if he thinks he deserves them, there is an End of him.
Sec. 23. He should regulate his Voice according to the Place where he
sings; for it would be the greatest Absurdity, not to make a Difference
between a small Cabinet and a vast Theatre.[94]
Sec. 24. He is still more to be blam'd, who, when singing in two, three, or
four Parts, does so raise his Voice as to drown his Companions; for if
it is not Ignorance, it is something worse.
Sec. 25. All Compositions for more than one Voice ought to be sung strictly
as they are written; nor do they require any other Art but a noble
Simplicity. I remember to have heard once a famous _Duetto_ torn into
Atoms by two renown'd Singers, in Emulation; the one proposing, and the
other by Turns answering, that at last it[95] ended in a Contest, who
could produce the most Extravagancies.