Qua data porta ruunt, & terras turbine perflant.
Qua data porta ruunt, & terras turbine perflant.
Qua data porta ruunt, & terras turbine perflant.
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, whichis 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.
XXXIII. What we have hitherto said of the irregularity and disorders of church music, doesnot extend to chants in the vulgar tongue only, but to psalms, masses, lamentations, and other parts of divine service, because the modes in fashion, have been introduced into them all. I have, in printed lamentations, seen the changes of the airs characterised in the same terms, which are used to describe them in comic music. Here you readgrave, thereayroso, and in another placeandante. What, can’t we admit of all the music being grave, even in a lamentation? And is it necessary to introduce light comedy airs into the representation of the most afflicting mysteries? If grief could find a place in heaven, Jeremiah would lament afresh, at seeing such music applied to his songs of mourning. Is it impossible, that in those complainings, where every letter is a sigh, corresponding with, and expressive of the various sensations, arising from the subjects of his lamentation; either the ruin of Jerusalem by the Chaldeans, the destruction of the world for sin, the affliction of the church militant for the persecution of its martyrs; and, to sum up the whole, the anguish and sufferings of our Redeemer, for the salvation of mankind. I say, can the feelings produced by such sad and distressing calamities, be expressed with airy tunes and recitatives? In the mournful songs of Jeremiah, which some expositors call the Alphabet of the Penitents, should we hear the sound of festive airs and serenades?With how much more reason than him, ought we to exclaim here in the language of Seneca, when he censured Ovid, for having introduced into the description of so tragical an event as that of Deucalion’s flood, a verse which savoured of gallantry:Non est res satis sobria lascivire devorato orbe terrarum.The Cythara of Nero, while Rome was burning, had not so harsh a sound, as the harmony of dances in the representation of such affecting mysteries.
XXXIV. And besides offending in this particular against the rules of reason, they sin also against the laws of music, which prescribe, that the tone of the chant, should be suited to the meaning of the words; and therefore, when the language is solemn and expressive of sorrow, the tone of the music should be grave and affecting.
XXXV. It is true, that against this rule, which is one of the most cardinal, musicians very frequently sin in all sorts of compositions, some from being deficient, and others by exceeding. Those fall into the error of deficiency, who form music without any attention to the spirit or meaning of the words to which they apply it; but hardly any fall into those gross mistakes, except such as scarce deserve the name of composers, and who are capable of doing nothing more, thanracking or weaving together, shreds and strips, of the compositions of other musicians.
XXXVI. Those err by exceeding or doing too much, who regulate their music with a puerile nicety, to correspond with the distinct or separate signification of each word, taken or standing by itself, without having regard to the meaning of the whole context. An example produced by father Kircher to illustrate this abuse, will explain what I mean. He instanced the manner, in which a composer had set to music the following verse:Mors festinat luctuosa; to the wordsmorsandluctuosa, he applied a mournful solfa; but to the wordfestinat, which stood in the middle between them, as it seemed to him, to signify vivacity or quickness, he appropriated a career of allegros, that would have caused the most sluggish nag who heard them, to bound about and give cabriols.
XXXVII. I saw something as bad, or indeed even worse than this, in one of the lamentations I cited before; where to the music adapted to express the following sentence:Deposita est vehementer non habens consolatorem, was marked ayroso. How ill-suited is an airy movement, to express the lamentable fall of Jerusalem, and also that of all mankind bowed down and crippled with the weight of their sins; which misfortune, was aggravatedwith the additional and distressing circumstance, of their being destitute of comfort under the calamity? But the blame of all this, was imputable to the adverbvehementer, because to express vehemence, appeared to the composer to require a lively movement; and thus, when he came to that word in the sentence, he quickened his pace, and upon the adverbvehementer, expended in rapid notes, music to the amount of forty crotchets; but the word, in the sense it was there used, was intended to signify the same asgravissime, and to express with energy, the degree of grief and sadness, occasioned by the fall of Jerusalem, which, crippled and bore down with the crushing weight of its sins, came to the ground, temple, walls, and houses, all together.
XXXVIII. Nobody was more guilty of this fault, than the celebrated Duron, and he committed it to such a degree, that sometimes in the same couplet, just as the signification of the words of the verse varied, taken separately or by themselves, he would vary the affectations of the chant, six or eight times; and although it required great address and ability to do this, which he in reality was possessed of; such an exertion of his talents was ill applied.
XXXIX. Some (for we would not omit to mention this) judge, that the composing music adapted to different subjects, consists much, in a right choice of the keys; and they assign one for grave subjects, another for chearful ones, and another for mournful ones, and so on; but I believe, this contributes little or nothing to the business; for there is no key whatever, in which there have not been written, very expressive and pathetic compositions, suited to excite all kinds of affections. The different place which the two semi-tones occupy in the diapason, and which is what the distinction of keys consists in, is insufficient to induce this diversity; because in whatever place an accidental is introduced, and they introduce them at every turn, this order is changed; and because various, or the most parts of the composition, by varying their terminations, fall upon, or catch the semi-tones, in a different position, from that in which they stand or are placed, with respect to the diapason. For example; although the first key-tone, which begins D solre, proceeds in this order, first a tone, then a semi-tone, after that three tones, to which there follows another semi-tone, and at last there comes a whole tone. The different traces, or minute passages of the composition,taken each by itself, do not follow this order; because one begins in the first, another in the tone which is next after it, and so on with respect to all the other parts of the diapason, and they terminate wherever the composer likes best; by which means, in every trace or minute passage of the composition, the position of the semi-tones is varied, as much, as in the different diapasons, which constitute the diversity of the keys.
XL. What confirms me in this sentiment, that the suiting music to produce a grave or a sprightly effect, does not depend upon the choice of the key it is wrote in, is, that the greatest musicians, are much divided in their opinions upon this point. What one considers as a lively key, another thinks a mournful one; what one esteems a devout key, another calls a flighty one. The two great jesuits, father Kircher, and father Dechales, are so opposite in their sentiments upon this head, that the same key, which father Kircher characterizes in this manner,Harmoniosus, magnificus, & regia majestate plenus, father Dechales speaks thus of:Ac tripudia, & choreas est comparatus, diciturque propterea lascivus; and they differ little less, in their assignation of the characters of many other keys, if not of all.
XLI. The foregoing, should be understood to relate and apply to the essential difference of keys, which consists, in the diversity of position of the semi-tones in the diapason; but not to their accidental difference; which, consists, in their being taken higher or lower. This may conduce something to create effect; because the same music, set in low notes, which is religious and grave, transposed to high ones, loses of its majesty, and acquires a degree of vivacity, that is ill suited to a solemn subject: and for this reason, I am of opinion, that the movements of church music should not be very quick: because, by hurrying the voices in the chant, they occasion them to sound harsh; and besides this, prevent that easy play and flexibility of throat, which is necessary to produce the effect the music requires; and which many times consists, or is contained in the intonations; I say further, that over and above these inconveniences, music composed of quick movements, and set in high notes, is not so well calculated to move the affections of respect, devotion, and piety, as that which is written in lower tones, and marked to be performed in slower time.
XLII. For the same reason, I am against the introduction of violins into churches. St. Thomas,in the place I before cited, objects to the admitting any kind of instruments in the church; and the reason he gives for the objection is, that the sensible delight which the instrumental music occasions, hinders devotion. But it is not easy to reconcile this reasoning, with what the saint says in another place, to wit, that the delight perceived by the air, excites weak spirits to devotion; and he, in the same place, approves of the use of musical instruments in synagogues, because the Jews being a hard and carnal people, there is a necessity for having recourse to such means, to provoke and stir them to piety. At least then for people of this stamp, musical instruments in churches would be very serviceable; and there being a great many of that disposition who frequent churches; consequently, the instruments would be found exceedingly useful. Besides, I can’t comprehend, how the sensible delight which instrumental music occasions, should induce to devotion those who on account of their hardness are little disposed to it, and obstruct it in those whose hearts are more inclined to divine worship.
XLIII. I acknowledge and confess, that it is much more easy for me to misunderstand St. Thomas, than for St. Thomas to advance any thing that is wrong: but after all, the universal practice of the whole church authorizes the use of instruments;and the only difficulty or disagreement, seems to rest in the choice of them. I for my own part think, that violins are improper in that sacred theatre; their shrill notes, although harmonious, are still shrill, and excite a puerile vivacity in our spirits, very different from that decent attention, which is due to the majesty of mysteries; and especially in these times, when those who compose for violins, studiously write their music so high, that he who is to execute it, can scarce forbear striking the bridge of the instrument with his fingers.
XLIV. There are many other instruments much fitter to be used in churches than violins, their tones being much more respectful and grave; such as the harp, the violincello, and the harpsichord; neither would the inconvenience of the want of trebles in the instruments be felt, by leaving out the violins, but rather, the music by the omission would appear more majestic, which is what is most required in churches. The organ is an admirable instrument; or, to speak more properly, many instruments comprized in one. It is true, that the organists, when they are so disposed, can make a sort of pipe and tabor of it; and it is also true, that this disposition seems to come upon them pretty frequently.
XLV. It would not be foreign, but rather very consonant to the object of our present criticism, to say something in this place of the poetry, to which they give the epithet of divine, and which is composed to be sung in churches, I may without temerity, venture to pronounce, that poetry in Spain, is in a worse state of perdition than music. The number of those who write couplets is infinite, but none of them are poets. If I was to be asked, which are the most difficult of all arts, I should answer, medicine, poetry, and oratory: and if I was also to be asked, which are the most easy; I should answer, oratory, poetry, and medicine. There is no student, who, if he takes a fancy to it, does not write verses. All the religious who mount the pulpit, and all the doctors who have studied and practised physic, find their partizans: but where will you meet with the truly able physician, the compleat poet, or the perfect orator?
XLVI. Our most learned monkDon John de Mabillon, in his Treatise on Monastic Studies, says, that an excellent poet is a very rare treasure, and I agree with him in sentiment; for upon strict examination, where, among the numbersof poetical essays that are published, will you meet with any one, which (omitting many other requisite qualities) is natural, sublime, sweet and pointed; and at the same time, ingenious, and clear; brilliant without affectation, sonorous without turgidity, and harmonious without impropriety; that runs without hobbling, is delicate without affectation, forcible without harshness, beautiful without paint or strained colouring, noble without presumption, and copious and comprehensive without obscurity? I will almost venture to pronounce, that he who would find a poet capable of writing verses in this stile, should seek for him in the regions inhabited by the Phœnix.
XLVII. In Spain however, poetry is in so deplorable a state, that according to all appearances, it would be needless to search for such a one there. He who errs the least, with the exception of here and there a particular one, seems as if he studied how he should commit faults. All his care appears to be placed, in swelling the verse with irrational hyperboles, and pompous words; by which means, he produces a bloated, and confirmed dropsical poem, the sight of which turns your stomach, and the perusal fills you with melancholy. Those essential qualities, propriety and nature, without which, neither poetry or prose can ever be good, seem to have abandoned,and become fugitives from our compositions. Our authors don’t in their productions, appear to have hit upon that native splendor, which gives a brilliancy to their ideas, but rather, to have disfigured their best thoughts, with affected and bombast expressions; so that their original conceptions, may be compared to a fine woman that falls into indiscreet hands to be dressed and ornamented.
XLVIII. Thus much in general for modern Spanish poetry; but the worst is, that you hear these sort of compositions in the sacred canticles; which are often so bad, that it would be better, instead of them, to sing the couplets of blind men; because these seem to have a tendency to promote devout affections, and their rustic simplicity is in some degree the symptom of a good intention. All the gracefulness, or rather the attempt at displaying it, in the church canticles of these times, consists in low equivocations, trivial metaphors, and puerile changes and rechanges. The worst is, that they are entirely void of spirit, and not at all calculated to excite religious emotions, which are the principal, if not the only qualities required, and which ought to be sought after in such compositions. Don Antonio de Solis was without doubt a person of sublime genius, and one who well understoodthe excellencies of poetry. He exceeded all others, and even sometimes himself also, in painting the passions with such apt, close, and subtile expressions, that the descriptions of his pen seem to give you a clearer idea of, and make you better acquainted with them, than the knowledge which is gained by experience. But with all this, we in his small sacred tracts, perceive a strange falling-off; because in them, we don’t meet with that nobleness of thought, that delicacy of expression, and that stirring of the passions, which is frequent and common in his other Lyric Poems. This did not happen because he wanted genius or talents to write sacred compositions; for his dirges upon the conversion of St. Francisco de Borja, are some of the best things he ever exhibited, and perhaps the most sublime, which to this day have been composed in the Spanish language.
XLIX. I believe the badness of the composition of these couplets, called Letrillas, which are generally written for festivals, has proceeded from Solis, and other poets of ability, having looked upon them as trifles; though in reality, no other compositions require so much study or serious attention. What subjects can be more noble than those, where the eulogium of the saints and martyrs is sung, and the excellency ofthe divine attributes and mysteries, is represented and celebrated? These are the things, on which men of abilities, should exert the whole power of their genius and talents. What employment can be more worthy a man of shining parts, than that of painting the beauty of virtue in such amiable colours, as to make mankind in love with it; and representing the deformity of vice, in so striking a point of view, as to make the world abhor and detest it; and to contrive to praise God and his angels in such a way, as would stimulate people to a desire of imitation, and light up in their minds, the flame of adoration and worship? The grandeur of poetry, consists in that active persuasion, which the poet instills into the soul, and with which he moves the heart, to follow the course he would wish it should pursue. To write in this stile, says our Mabillon, speaking of poetry, is not children’s play; much less then, should sacred poetry be only fit to amuse infants; but after all, that which is sung in our churches is nothing better.
L. Even those, whose compositions are held in estimation, do no more, than provide and prepare the first light conceits that occur to them on the subject they are about to write upon; and although they have not in themselves, union with respect to time, or tendency to any designwhatever, they distribute them in couplets, and notwithstanding one leads to Flanders, and another to Morocco, they introduce them into the context; and provided each couplet says something, for this is their explanation, although it is without life, spirit, or force; nay more, although it is without order, or direction to any determinate point or purpose, they say it is good composition; when, in truth, it no more deserves the name of a composition, than a heap of stones that of an edifice, or the throwing or huddling together a number of colours, that of a picture.
LI. Keen sentences, wit, airy pleasantry, and lively conceits, are the precise ornaments of poetry; but they should not be introduced into a poem, as if they had been studiously sought after; on the contrary, they should seem as if they were always in waiting, and ready either for the poet to lay his hand on them, or to obey his command; who should pursue the rout he has chalked out for himself, and as he proceeds on, gather such flowers as he meets on his way, and which grow naturally in the road through which he travels. This was the practice of Virgil, Ovid, Horace, and all the illustrious poets of antiquity. To make couplets, which are no more than an unformed mass of little conceits, is a thing very easy, and at the same time very useless;because there is not in them, nor are they capable of containing, any of the sublime excellences of poetry. Why do I say sublime excellences? Not even the lowest requisites which are of its essence.
LII. But I have not even yet mentioned the worst part belonging to the divine canticles; which is, that if not all, a great many of them are composed in a burlesque stile. This is certainly done with great discretion; because by this practice, the things appertaining to God, are converted to things of interlude. What idea can a thousand extravagances, put in the mouths of Gill and Pasquil, give of the ineffable mystery of the incarnation? I shall leave it here, for the thoughts of such an absurdity put me out of all patience; and he to whom such an indignant abuse, does not of itself appear disgusting, I shall never be able to persuade or convince, by any arguments whatever.