OnDivisions.
Tho'Divisionshave not Power sufficient to touch the Soul, but the most they can do is to raise our Admiration of the Singer for the happy Flexibility of his Voice; it is, however, of very great Moment, that the Master instruct the Scholar in them, that he may be Master of them with an easy Velocity and true Intonation; for when they are well executed in their proper Place, they deserve Applause, and make a Singer more universal; that is to say, capable to sing in any Stile.
§ 2. By accustoming the Voice of a Learner to be lazy and dragging, heis rendered incapable of any considerable Progress in his Profession. Whosoever has not the Agility of Voice, in Compositions of a quick or lively Movement, becomes odiously tiresome; and at last retards the Time so much, that every thing he sings appears to be out of Tune.
§ 3.Division, according to the general Opinion, is of two Kinds, the Mark'd, and the Gliding; which last, from its Slowness and Dragging, ought rather to be called a Passage or Grace, than aDivision.
§ 4. In regard to the first, the Master ought to teach the Scholar that light Motion of the Voice, in which the Notes that constitute the Division be all articulate in equal Proportion, and moderately distinct, that they be not too much join'd, nor too much mark'd.[42]
§ 5. The second is perform'd in such a Manner that the first Note is a Guide to all that follow, closely united, gradual, and with such Evenness of Motion, that in Singing it imitates a certain Gliding, by the Masters called aSlur; the Effect of which is truly agreeable when used sparingly.[43]
§ 6. Themark'd Divisions, being more frequently used than the others, require more Practice.
§ 7. The Use of theSluris pretty much limited in Singing, and is confined within such few Notes ascending or descending, that it cannot go beyond a fourth without displeasing. It seems to me to be more grateful to the Ear descending, than in the contrary Motion.
§ 8. TheDraggconsists in a Succession of divers Notes, artfully mixed with theForteandPiano. The Beauty of which I shall speak of in another Place.
§ 9. If the Master hastens insensibly the Time when the Scholar sings theDivisions, he will find that there is not a more effectual way to unbind the Voice, and bring it to a Volubility; being however cautious, that this imperceptible Alteration do not grow by Degrees into a vicious Habit.
§ 10. Let him teach to hit theDivisionswith the same Agility in ascending gradually, as in descending; for though this seems to be an Instruction fit only for a Beginner, yet we do not find every Singer able to perform it.
§ 11. After the gradualDivisions, let him learn to hit, with the greatest Readiness, all those that are of difficult Intervals, that, being in Tune and Time, they may with Justice deserve our Attention. The Study of this Lesson demands more Time and Application than any other, not so much for the great Difficulty in attaining it, as the important Consequences that attend it; and, in Fact, a Singerloses all Fear when the most difficultDivisionsare become familiar to him.
§ 12. Let him not be unmindful to teach the Manner of mixing thePianowith theFortein theDivisions; theGlidingsorSlurswith theMark'd, and to intermix theClose Shake; especially on the pointed Notes, provided they be not too near one another; making by this Means every Embellishment of the Art appear.
§ 13. Of all the Instructions relating toDivisions, the most considerable seems to be That, which teaches to unite theBeatsandshort Shakewith them; and that the Master point out to him, how to execute them with Exactness of Time, and the Places where they have the best Effect: But this being not so proper for one who teaches only the first Rules, and still less for him that begins to learn them, it would be better to have postponed this (as perhaps I should have done) did I not know,that there are Scholars of so quick Parts, that in a few Years become most excellent Singers, and that there is no want of Masters qualified to instruct Disciples of the most promising Genius; besides, it appeared to me an Impropriety in this Chapter onDivisions(in which theBeatsandClose Shakeappear with greater Lustre than any other Grace) not to make Mention of them.
§ 14. Let the Scholar not be suffered to singDivisionswith Unevenness of Time or Motion; and let him be corrected if he marks them with the Tongue, or with the Chin, or any other Grimace of the Head or Body.
§ 15. Every Master knows, that on the third and fifth Vowel, theDivisionsare the worst; but every one does not know, that in the best Schools the second and fourth were not permitted, when these two Vowels are pronounced close or united.
§ 16. There are many Defects in theDivisions, which it is necessaryto know, in order to avoid them; for, besides that of the Nose or the Throat, and the others already mentioned, those are likewise displeasing which are neither mark'd nor gliding; for in that Case they cannot be said to sing, but howl and roar. There are some still more ridiculous, who mark them above Measure, and with Force of Voice, thinking (for Example) to make aDivisionuponA, it appears as if they saidHa,Ha,Ha, orGha,Gha,Gha; and the same upon the other Vowels. The worst Fault of all is singing them out of Tune.
§ 17. The Master should know, that though a good Voice put forth with Ease grows better, yet by too swift a Motion inDivisionsit becomes an indifferent one, and sometimes by the Negligence of the Master, to the Prejudice of the Scholar, it is changed into a very bad one.
§ 18.DivisionsandShakesin aSicilianaare Faults, andGlidingsandDraggsare Beauties.
§ 19. The sole and entire Beauty of theDivisionconsists in its being perfectly in Tune, mark'd, equal, distinct, and quick.
§ 20.Divisionshave the like Fate with theShakes; both equally delight in their Place; but if not properly introduced, the too frequent Repetition of them becomes tedious if not odious.
§ 21. After the Scholar has made himself perfect in theShakeand theDivisions, the Master should let him read and pronounce the Words, free from those gross and ridiculous Errors of Orthography, by which many deprive one Word of its double Consonant, and add one to another, in which it is single.[44]
§ 22. After having corrected the Pronunciation, let him take Care that the Words be uttered in such a Manner, without any Affectation thatthey be distinctly understood, and no one Syllable be lost; for if they are not distinguished, the Singer deprives the Hearer of the greatest Part of that Delight which vocal Musick conveys by Means of the Words. For, if the Words are not heard so as to be understood, there will be no great Difference between a human Voice and a Hautboy. This Defect, tho' one of the greatest, is now-a-days more than common, to the greatest Disgrace of the Professors and the Profession; and yet they ought to know, that the Words only give the Preference to a Singer above an instrumental Performer, admitting them to be of equal Judgment and Knowledge. Let the modern Master learn to make use of this Advice, for never was it more necessary than at present.
§ 23. Let him exercise the Scholar to be very ready in joining the Syllables to the Notes, that he may never be at a Loss in doing it.
§ 24. Let him forbid the Scholar to take Breath in the Middle of a Word, because the dividing it in two is an Error against Nature; which must not be followed, if we would avoid being laugh'd at. In interrupted Movements, or in longDivisions, it is not so rigorously required, when the one or the other cannot be sung in one Breath. Anciently such Cautions were not necessary, but for the Learners of the first Rudiments; now the Abuse, having taken its Rise in the modern Schools, gathers Strength, and is grown familiar with those who pretend to Eminence. The Master may correct this Fault, in teaching the Scholar to manage his Respiration, that he may always be provided with more Breath than is needful; and may avoid undertaking what, for want of it, he cannot go through with.
§ 25. Let him shew, in all sorts of Compositions, the proper Place where to take Breath, and without Fatigue; because there are Singers who givePain to the Hearer, as if they had an Asthma taking Breath every Moment with Difficulty, as if they were breathing their last.
§ 26. Let the Master create some Emulation in a Scholar that is negligent, inciting him to study the Lesson of his Companion, which sometimes goes beyond Genius; because, if instead of one Lesson he hears two, and the Competition does not discountenance him, he may perhaps come to learn his Companion's Lesson first, and then his own.
§ 27. Let him never suffer the Scholar to hold the Musick-Paper, in Singing, before his Face, both that the Sound of the Voice may not be obstructed, and to prevent him from being bashful.
§ 28. Let him accustom the Scholar to sing often in presence of Persons of Distinction, whether from Birth, Quality, or Eminence in the Profession, that by gradually losing his Fear, he may acquire an Assurance, but not a Boldness. Assuranceleads to a Fortune, and in a Singer becomes a Merit. On the contrary, the Fearful is most unhappy; labouring under the Difficulty of fetching Breath, the Voice is always trembling, and obliged to lose Time at every Note for fear of being choaked; He gives us Pain, in not being able to shew his Ability in publick; disgusts the Hearer, and ruins the Compositions in such a Manner, that they are not known to be what they are. A timorous Singer is unhappy, like a Prodigal, who is miserably poor.
§ 29. Let not the Master neglect to shew him, how great their Error is who makeShakesorDivisions, or take Breath on thesyncopatedorbindingNotes; and how much better Effect the holding out the Voice has. The Compositions, instead of losing, acquire thereby greater Beauty.[45]
§ 30. Let the Master instruct him in theForteandPiano, but so as touse him more to the first than the second, it being easier to make one sing soft than loud. Experience shews that thePianois not to be trusted to, since it is prejudicial though pleasing; and if any one has a Mind to lose his Voice, let him try it. On this Subject some are of Opinion, that there is an artificialPiano, that can make itself be heard as much as theForte; but that is only Opinion, which is the Mother of all Errors. It is not Art which is the Cause that thePianoof a good Singer is heard, but the profound Silence and Attention of the Audience. For a Proof of this, let any indifferent Singer be silent on the Stage for a Quarter of a Minute when he should sing, the Audience, curious to know the Reason of this unexpected Pause, are hush'd in such a Manner, that if in that Instant he utter one Word with a soft Voice, it would be heard even by those at the greatest Distance.
§ 31. Let the Master remember, that whosoever does not sing to theutmost Rigour of Time, deserves not the Esteem of the Judicious; therefore let him take Care, there be no Alteration or Diminution in it, if he pretends to teach well, and to make an excellent Scholar.
§ 32. Though in certain Schools, Books of Church-Musick and ofMadrigalslie buried in Dust, a good Master would wipe it off; for they are the most effectual Means to make a Scholar ready and sure. If Singing was not for the most part performed by Memory, as is customary in these Days, I doubt whether certain Professors could deserve the Name of Singers of the first Rank.[46]
§ 33. Let him encourage the Scholar if he improves; let him mortify him, without Beating, for Indolence; let him be more rigorous for Negligences; nor let the Scholar ever end aLesson without having profited something.
§ 34. An Hour of Application in a Day is not sufficient, even for one of the quickest Apprehension; the Master therefore should consider how much more Time is necessary for one that has not the same Quickness, and how much he is obliged to consult the Capacity of his Scholar. From a mercenary Teacher this necessary Regard is not to be hoped for; expected by other Scholars, tired with the Fatigue, and solicited by his Necessities, he thinks the Month long; looks on his Watch, and goes away. If he be but poorly paid for his Teaching,—a God-b'wy to him.
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OfRecitative.
Recitativeis of three Kinds, and ought to be taught in three different Manners.
§ 2. The first, being used in Churches, should be sung as becomes the Sanctity of the Place, which does not admit those wanton Graces of a lighter Stile; but requires someMessa di Voce, manyAppoggiatura's, and a noble Majesty throughout. But the Art of expressing it, is not to be learned, but from the affecting Manner of those who devoutly dedicate their Voices to the Service of God.
§ 3. The second is Theatrical, which being always accompaniedwith Action by the Singer, the Master is obliged to teach the Scholar a certain natural Imitation, which cannot be beautiful, if not expressed with that Decorum with which Princes speak, or those who know how to speak to Princes.
§ 4. The last, according to the Opinion of the most Judicious, touches the Heart more than the others, and is calledRecitativo di Camera. This requires a more peculiar Skill, by reason of the Words, which being, for the most part, adapted to move the most violent Passions of the Soul, oblige the Master to give the Scholar such a lively Impression of them, that he may seem to be affected with them himself. The Scholar having finished his Studies, it will be but too[47]easily discovered if he stands in Need of this Lesson. The vast Delight, which the Judicious feel, is owing to this particular Excellence, which, without the Help of the usual Ornaments, produces all this Pleasure from itself; and, let Truth prevail, where Passion speaks, allShakes, allDivisionsandGracesought to be silent, leaving it to the sole Force of a beautiful Expression to persuade.
§ 5. The ChurchRecitativeyields more Liberty to the Singer than the other two, particularly in the final Cadence; provided he makes the Advantage of it that a Singer should do, and not as a Player on the Violin.
§ 6. The Theatrical leaves it not in our Election to make Use of this Art, lest we offend in the Narrative, which ought to be natural, unless in aSoliloquy, where it may be in the Stile of Chamber-Musick.
§ 7. The third abstains from great part of the Solemnity of the first, andcontents itself with more of the second.
§ 8. The Defects and unsufferable Abuses which are heard inRecitatives, and not known to those who commit them, are innumerable. I will take Notice of several Theatrical ones, that the Master may correct them.
§ 9. There are some who singRecitativeon the Stage like That of the Church or Chamber; some in a perpetual Chanting, which is insufferable; some over-do it and make it a Barking; some whisper it, and some sing it confusedly; some force out the last Syllable, and some sink it; some sing it blust'ring, and some as if they were thinking of something else; some in a languishing Manner; others in a Hurry; some sing it through the Teeth, and others with Affectation; some do not pronounce the Words, and others do not express them; some sing as if laughing, and some crying; some speak it, and some hiss it; some hallow, bellow, and sing it outof Tune; and, together with their Offences against Nature, are guilty of the greatest Fault, in thinking themselves above Correction.
§ 10. ThemodernMasters run over with Negligence their Instructions in all Sorts ofRecitatives, because in these Days the Study of Expression is looked upon as unnecessary, or despised asancient: And yet they must needs see every Day, that besides the indispensable Necessity of knowing how to sing them, These even teach how to act. If they will not believe it, let them observe, without flattering themselves, if among their Pupils they can show an Actor of equal Merit withCortonain the Tender;[48]of BaronBalariniin the Imperious; or other famous Actors that at present appear, tho' I name them not; having determined in these Observations, not to mentionany that are living, in whatsoever Degree of Perfection they be, though I esteem them as they deserve.
§ 11. A Master, that disregardsRecitative, probably does not understand the Words, and then, how can he ever instruct a Scholar in Expression, which is the Soul of vocal Performance, and without which it is impossible to sing well? PoorGentlemen Masterswho direct and instruct Beginners, without reflecting on the utter Destruction you bring on the Science, in undermining the principal Foundations of it! If you know not that theRecitatives, especially in the vulgar or known Language, require those Instructions relative to the Force of the Words, I would advise you to renounce the Name, and Office ofMasters, to those who can maintain them; your Scholars will otherwise be made a Sacrifice to Ignorance, and not knowing how to distinguish the Lively from the Pathetick, or the Vehement from the Tender, it will be no wonder if you see them stupidon the Stage, and senseless in a Chamber. To speak my Mind freely, yours and their Faults are unpardonable; it is insufferable to be any longer tormented in the Theatres withRecitatives, sung in the Stile of a Choir ofCapuchinFriars.
§ 12. The reason, however, of not giving more expression to theRecitative, in the manner of those calledAntients, does not always proceed from the Incapacity of the Master, or the Negligence of the Singer, but from the little Knowledge of themodernComposers (we must except some of Merit) who set it in so unnatural a Taste, that it is not to be taught, acted or sung. In Justification of the Master and the Singer let Reason decide. To blame the Composer, the same Reason forbids me entering into a Matter too high for my low Understanding, and wisely bids me consider the little Insight I can boast of, barely sufficient for a Singer, or to write plain Counterpoint. But when I consider I have undertaken in theseObservations, to procure diverse Advantages to vocal Performers, should I not speak of a Composition, a Subject so necessary, I should be guilty of a double Fault. My Doubts in this Perplexity are resolved by the Reflection, thatRecitativeshave no Relation to Counterpoint. If That be so, what Professor knows not, that many theatricalRecitativeswould be excellent if they were not confused one with another; if they could be learned by Heart; if they were not deficient in respect of adapting the Musick to the Words; if they did not frighten those who sing them, and hear them, with unnatural Skips; if they did not offend the Ear and Rules with the worst Modulations; if they did not disgust a good Taste with a perpetual Sameness; if, with their cruel Turns and Changes of Keys, they did not pierce one to the Heart; and, finally, if the Periods were not crippled by them who know neither Point nor Comma? I am astonished that such as these do not, for their Improvement,endeavour to imitate theRecitativesof those Authors, who represent in them a lively image of Nature, by Sounds which of themselves express the Sense, as much as the very Words. But to what Purpose do I show this Concern about it? Can I expect that these Reasons, with all their Evidences, will be found good, when, even in regard to Musick, Reason itself is no more in theMode? Custom has great Power. She arbitrarily releases her Followers from the Observance of the true Rules, and obliges them to no other Study than that of theRitornello's, and will not let them uselessly employ their precious Time in the Application toRecitative, which, according to her Precepts, are the work of the Pen, not of the Mind. If it be Negligence or Ignorance, I know not; but I know very well, that the Singers do not find their Account in it.
§ 13. Much more might still be[49]said on the Compositions ofRecitativein general, by reason of that tedious chanting that offends the Ear, with a thousand broken Cadences in every Opera, which Custom has established, though they are without Taste or Art. To reform them all, would be worse than the Disease; the introducing every time a final Cadence would be wrong: But if in these two Extremes a Remedy were necessary I should think, that among an hundred broken Cadences, ten of them, briefly terminated on Points that conclude a Period, would not be ill employed. The Learned, however, do not declare themselves upon it, and from their Silence I must hold myself condemned.
§ 14. I return to the Master, only to put him in Mind, that his Duty is to teach Musick; and if the Scholar, before he gets out of his Hands, does not sing readily and at Sight, the Innocent is injured without Remedy from the Guilty.
§ 15. If after these Instructions, the Master does really find himself capable of communicating to his Scholar Things of greater Moment, and what may concern his farther Progress, he ought immediately to initiate him in the Study of Church-Airs, in which he must lay aside all the theatrical effeminate Manner, and sing in a manly Stile; for which Purpose he will provide him with different natural and easyMotets[50]grand and genteel, mix'd with the Lively and the Pathetick, adapted to the Ability he has discovered in him, and by frequent Lessons make him become perfect in them with Readiness and Spirit. At the same time he must be careful that the Words be well pronounced, and perfectly understood; that theRecitativesbe expressed with Strength, and supported without Affectation; that in the Airs he be not wanting in Time, and in introducing some Graces of good Taste; and, above all, thatthe final Cadences of theMotetsbe performed with Divisions distinct, swift, and in Tune. After this he will teach him that Manner, the Taste ofCantata'srequires, in order, by this Exercise, to discover the Difference between one Stile and another. If, after this, the Master is satisfied with his Scholar's Improvement, yet let him not think to make him sing in Publick, before he has the Opinion of such Persons, who know more of singing than of flattering; because, they not only will chuse such Compositions proper to do him Honour and Credit, but also will correct in him those Defects and Errors, which out of Oversight or Ignorance the Master had not perceived or corrected.
§ 16. If Masters did consider, that from our first appearing in the Face of the World, depends our acquiring Fame and Courage, they would not so blindly expose their Pupils to the Danger of falling at the first Step.
§ 17. But if the Master's Knowledge extends no farther than the foregoing Rules, then ought he in conscience to desist, and to recommend the Scholar to better Instructions. However, before the Scholar arrives at this, it will not be quite unnecessary to discourse with him in the following Chapters, and if his Age permits him not to understand me, those, who have the Care of him, may.
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Observations for a Student.
Teforeentering on the extensive and difficult Study of theFlorid, orfigured Song, it is necessary to consult the Scholar's Genius; for if Inclination opposes, it is impossible to force it, and when That incites, the Scholar proceeds with Ease and Pleasure.
§ 2. Supposing, then, that the Scholar is earnestly desirous of becoming a Master in so agreable a Profession, and being fully instructed in these tiresome Rudiments, besides many others that may have slipt my weak Memory; after a strict Care of his Morals, he should give the rest ofhis Attention to the Study of singing in Perfection, that by this Means he may be so happy as to join the most noble Qualities of the Soul to the Excellencies of his Art.
§ 3. He that studies Singing must consider that Praise or Disgrace depends very much on his Voice which if he has a Mind to preserve he must abstain from all Manner of Disorders, and all violent Diversions.
§ 4. Let him be able to read perfectly, that he may not be put to Shame for so scandalous an Ignorance. Oh, how many are there, who had need to learn the Alphabet!
§ 5. In case the Master knows not how to correct the Faults in Pronunciation, let the Scholar endeavour to learn the best by some other Means; because the not being born[51]inTuscany, will not excuse the Singer's Imperfection.
§ 6. Let him likewise very carefully endeavour to correct all other Faults that the Negligence of his Master may have passed over.
§ 7. With the Study of Musick, let him learn also at least the Grammar, to understand the Words he is to sing in Churches, and to give the proper Force to the Expression in both Languages. I believe I may be so bold to say, that divers Professors do not even understand their own Tongue, much less theLatin.[52]
§ 8. Let him continually, by himself, use his Voice to a Velocity of Motion, if he thinks to have a Command over it, and that he may not go by the Name of a pathetick Singer.
§ 9. Let him not omit frequently to put forth, and to stop, the Voice,that it may always be at his Command.
§ 10. Let him repeat his Lesson at Home, till he knows it perfectly; and with a local Memory let him retain it, to save his Master the Trouble of Teaching, and himself of studying it over again.
§ 11. Singing requires so strict an Application, that one must study with the Mind, when one cannot with the Voice.
§ 12. The unwearied Study of Youth is sure to overcome all Obstacles that oppose, though Defects were suck'd in with our Mother's Milk. This Opinion of mine is subject to strong Objections; however, Experience will defend it, provided he corrects himself in time. But if he delays it, the older he grows the more his Faults will increase.
§ 13. Let him hear as much as he can the most celebrated Singers, and likewise the most excellent instrumental Performers; because, from the Attention in hearing them, one reapsmore Advantage than from any Instruction whatsoever.
§ 14. Let him endeavour to copy from Both, that he may insensibly, by the Study of others, get a good Taste. This advice, though extremely useful to a Student, is notwithstanding infinitely prejudicial to a Singer, as I shall shew in its proper Place[53].
§ 15. Let him often sing the most agreable Compositions of the best Authors, and accustom the Ear to that which pleases. I'd have a Student know, that by the abovementioned Imitations, and by the Idea of good Compositions, the Taste in Time becomes Art, and Art Nature.
§ 16. Let him learn to accompany himself, if he is ambitious of singing well. The Harpsichord is a great Incitement to Study, and by it we continually improve in our Knowledge. The evident Advantage arising to theSinger from that lovely Instrument, makes it superfluous to say more on that Head. Moreover, it often happens to one who cannot play, that without the Help of another he cannot be heard, and is thereby to his Shame obliged to deny the Commands of those whom it would be to his Advantage to obey.
§ 17. Till a Singer pleases himself, it is certain he cannot please others. Therefore consider, if some Professors of no small Skill have not this Pleasure for want of sufficient Application, what must the Scholar do? Study,—and study again, and not be satisfied.
§ 18. I am almost of Opinion, that all Study and Endeavours to sing are infallibly vain, if not accompanied with some little Knowledge of Counterpoint. One, who knows how to compose, can account for what hedoes, and he, who has not the same Light, works in the Dark, not knowing how to sing without committing Errors. The most famousAncientsknow the intrinsick Value of this Precept from the Effects. And a good Scholar ought to imitate them, without considering whether this Lesson be according to theModeor not For though, in these Days, one now and then hears admirable Performances, proceeding from a natural Taste, yet they are all done by Chance; but where that Taste is wanting, if they are not execrable, at least they will be very bad: For Fortune not being always at their Command, they cannot be sure to agree, neither with Time nor Harmony. This Knowledge, although requisite, I would not however advise a Scholar to give himself up to an intense Application, it being certain, I should teach him the readiest way to lose his Voice, but I exhort him only to learn theprincipal Rules, that he may not be quite in the Dark.[54]
§ 19. To study much, and preserve a Voice in its full Beauty, are two Things almost incompatible; there is between them such a sort of Amity, as cannot last without being prejudicial to the one or the other. However, if one reflects, that Perfection in a Voice is a Gift of Nature, and in Art a painful Acquisition, it will indeed be allowed, that this latter excels in Merit, and more deserves our Praise.
§ 20. Whoever studies, let him look for what is most excellent, and let him look for it wherever it is, without troubling himself whether it be in the Stile of fifteen or twenty Years ago, or in that of these Days; for all Ages have their good and bad Productions. It is enough to find out the best, and profit by them.
§ 21. To my irreparableMisfortune, I am old; but were I young, I would imitate as much as possibly I could theCantabileof those who are branded with the opprobrious Name ofAncients; and theAllegroof those who enjoy the delightful Appellation ofModerns. 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]
§ 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.
§ 23. A Student must not hope for Applause, if he has not an utter Abhorrence of Ignorance.
§ 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.
§ 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.
§ 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.
§ 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 theBody, or of the Face (for so I call the Grimaces of an affected Singer) which, when once they have took Footing, never leave him.
§ 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.
§ 29. After a long Exercise, and the Attainment of a true Intonation, of aMessa di Voce, ofShakes, ofDivisions, andRecitativewell 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 thefollowing Chapter, in order thereby to reap greater Advantage from those that can sing theAirs, and teach to sing them.
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OfAirs.
Ifwhoever introduced the Custom of repeating the first Part of theAir(which is calledDa 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]
§ 2. By theAncientsbeforementioned,Airswere 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 manyModerns, is quite unknown.
§ 3. A Singer is under the greatest Obligation to the Study of theAirs; 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 ofAirs, 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 besaid, 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]
§ 4. Among the Things worthy of Consideration, the first to be taken Notice of, is the Manner in which allAirsdivided 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 theAir, he that does not vary it for the better, is no great Master.
§ 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]
§ 6. The most celebrated among theAncientspiqued themselves in varying every Night their Songs in the Opera's, not only thePathetick, but also theAllegro. The Student, who is not well grounded, cannot undertake this important Task.
§ 7. Without varying theAirs, 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.
§ 8. Returning from this Digression to the abovementioned, repeating the first Part of theAirwith 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 atextemporeEmbellishments; but they should not allow, that a Superfluity of them should prejudice the Composition, and confound the Ear.[60]
§ 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 heobserves, 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.
§ 10. In the Study ofAirs, 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.
§ 11. InAirsaccompanied 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.
§ 12. To prevent several false Steps in singing theAirs, I would strongly inculcate to a Student, first, never to give over practising in private, tillhe is secure of committing no Error in Publick; and next, that at the first Rehearsal theAirsbe 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.
§ 13. The most necessary Study for singingAirsin 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 agreeableputting forthof the Voice, is a very happy Singer.
§ 14. Let him, who studies under the Disadvantage of an ungrateful Genius, remember for his Comfort, that singing in Tune, Expression,Messa di Voce, theAppoggiatura'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.
§ 15. Let him avoid all those Abuses which have overspread and established themselves in theAirs, if he will preserve Musick in its Chastity.
§ 16. Not only a Scholar, but every Singer ought to forbearCaricatura'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 andSpight. 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.
§ 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 theAirbecomes more and more so, and at the last the Variation, and the Error is discovered.
§ 18. If I do not advise a Student to imitate several of theModernsin their Manner of singingAirs, it is from their Neglect of keeping Time, which ought to be inviolable, and not sacrificed to their beloved Passages and Divisions.
§ 19. The Presumption of some Singers is not to be borne with, who expect that an wholeOrchestreshould 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 theMode——Singing after theMode?——I say, you are mistaken. The stopping in theAirsat 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 byRivani, calledCiecolino,[61]who with invincible Reasons shewed the proper Placesfor Embellishments, without begging Pauses. This Percept was approved by several eminent Persons, among whom was SignerPistochi,[62]the most famous of our, and allpreceding 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'dModerns!) should be sufficient to undeceive you. But if this does not satisfy you, I will add, thatSifacio[63]with his mellifluousVoice embrac'd this Rule; thatBuzzolini[64]of incomparable Judgment highly esteemed it: After themLuigino[65]with his soft and amorous Stile followed their Steps; likewiseSignora Boschi[66]who, to the Glory of her Sex, has made it appear, that Women, who study, may instruct even Men of some Note. ThatSignora 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 overEurope, 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 thisDiscernment, 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.
§ 20. Besides the Errors in keeping Time, there are other Reasons, why a Student should not imitate themodernGentlemen in singingAirs, sinceit 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 oneAirfrom another, they singing them all so much alike, that, in hearing of one, you hear a Thousand.——And must theModetriumph? It was thought, not many Years since, that in an Opera, one rumblingAir, 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 lostduring the Course of theAir. In the following Chapter, on the tormented and tortured Cadences, we shall shortly see the good Taste of theMode; in the mean while I return to the Abuses and Defects inAirs.
§ 21. I cannot positively tell, who thatModernComposer, or that ungrateful Singer was, that had the Heart to banish the delightful, soothing,PathetickfromAirs, 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 thePathetick, they all agree in the same Opinion, (a thing that seldom happens) and answer, that thePathetickis 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 theMasters, but the Audience, those capricious Protectors of theMode, that cannot endure this; and herein lies my Mistake. Alas! theModeand 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 thePathetick, yet sing theAllegro. 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.
§ 22. In former times diversAirswere 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 violentMotion of the Affections. Oh! powerful Proof to confound the idoliz'dMode! Are there in these Times any, who are moved with Tenderness, or Sorrow?——No, (say all the Auditors) no; for, the continual singing of theModernsin theAllegroStile, though when in Perfection That deserves Admiration, yet touches very slightly one that hath a delicate Ear. The Taste of theAncientswas a Mixture of theLivelyand theCantabilethe Variety of which could not fail giving Delight; but theModernsare so pre-possessed with Taste inMode, that, rather than comply with the former, they are contented to lose the greatest Part of its Beauty. The Study of thePathetickwas the Darling of the former; and Application to the most difficult Divisions is the only Drift of the latter.Thoseperform'd with more Judgment; andTheseexecute 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 theModernsare arrived at the highest Degree of Perfection in singing to theEar; and that theAncientsare inimitable in singing to theHeart.
§ 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 thePathetickand theExpressive, and a little less to theDivisions, they might boast of having brought the Art to the highest Degree of Perfection.
§ 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 theCantabile; in as much as theAirsat present in vogue go Whip and Spur with such violent Motions, as take away their Breath, far from givingthem an Opportunity of shewing the Exquisiteness of their Taste. But, good God! since there are so manymodernComposers, among whom are some of Genius equal, and perhaps greater than the bestAncients, for what Reason or Motive do they always exclude from their Compositions, the so-much-longed-forAdagio? Can its gentle Nature ever be guilty of a Crime? If it cannot gallop with theAirsthat 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 grandModedemands that he be quick, and ready to burst himself in his Lamentations, and weep with Liveliness. But what can one say? The Resentment of themodernTaste is not appeased with the Sacrifice of thePathetickand theAdagioonly, two inseparable Friends, but goes so far, as to prescribe thoseAirs, as Confederates, that have nottheSharpthird. 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 ofPier. Simone[69], and ofStradella[70]; thesecond is of the best that nowliving[71]; and I leave others to judge whether they areModern. But of your Stile, which is not quite established yet inItaly, and which has yet gained no Credit at all beyond theAlps, those that come after us will soon give their Opinion; forModeslast not long. But if the Profession is to continue, and end with the World, either you yourselves will see your Mistake, or your Successors willreform it. Wou'd you know how? By banishing the Abuses, and recalling the first, second, and thirdMood[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, theAllegrowill now and then be mixed with thePathetick. TheAirswill not always be drowned with the Indiscretion of the Instruments, that hide the artful Delicacy of thePiano, and the soft Voices, nay, even all Voices which will not bawl: They will no longer bear being teased withUnisons[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: TheSoprano'sandContr'Alto'swill no more sing theAirsin the Manner of the Bass, in Spight of a thousandOctaves: And, finally, theirAirswill 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 theModepleases, 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.
§ 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 ofseeing 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 themodernStile 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 notsuccoured 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?
§ 26. I know that the World honours with just Applause some, tho' few Masters, intelligent in bothStiles, 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.
§ 27. To my Misfortune, I asked one of this sort, from whom he had learned theCounterpoint? he answered immediately from the Instrument, (i.e., the Harpsichord)—Very well. I asked farther, in whatTonehave you composed the Introduction of your Opera?——WhatTone! whatTone! (breaking in upon me abruptly) with what musty Questions are you going to disturb my Brains? One may easily perceive from what Schoolyou come. TheModerns, if you do not know it, acknowledge no otherTonebut 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 intoAuthentickandPlagal, 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 bepleased 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——
§ 28. That our delicious Stile has been invented to hide with the fine Name ofModernthe too difficult Rules of theCounterpoint, cannot be denied.
§ 29. That there is an inviolable Rule amongst us, to banish for ever thePathetick, is very true; because we will have no Melancholy.
§ 30. But, that we should be told by the oldBashaws, that we strive who can produce most extravagant Absurdities never heard before, and that we brag to be the Inventors ofthem 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 anAncient.
§ 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 theAirsthat 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 thefundamental Basses, in such Manner,——(mark me well, and learn) that if in anOrchestrethere were an hundred Violins, we are capable of composing in such a Manner, that all and every one shall play the veryAirwhich the Voice sings. What say you to that? Can you have the Face to find Fault with us?
§ 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 Earà 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?
§ 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 greatFools to grow pale, and become paralytick in studying and finding out in the Scores, the Harmony, theFugues, theirReverses, theDouble Counterpoint, the Multiplication of Subjects, to contract them closer, to makeCanons, and such other dry Stuff, that are no more inMode, 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.
§ 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.
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