FOOTNOTES:

FOOTNOTES:[1]When Arts and Sciences were retrieving from the Barbarism in which they were buried, Musick chiefly took its Rise inFlanders, and the Composers of Musick of that Nation were dispersed all overEurope, to the Improvement of others. InItalythere arose from that School, among several others,P. Alis. Palestrina, a Genius so extraordinary, that he is looked upon as theRaphaelamong the Musicians. He lived in PopeLeothe Tenth's Time; and no Musick, that we know of, is performed at the Pope's Chapel, to this Day, but of his Composition, except the famousMiserereofAllegri, who liv'd a little time afterPalestrina.[2]Our Author seems to be a little too partial in Favour of the Singer, all momentary Productions being the same; though it must be allowed, that by reason of the Expression of the Words, any Error in Singing will be more capital, than if the same were committed on an Instrument.[3]The Author directs this for the Instruction of aSoprano, or a treble Voice, because Youth possesses that Voice mostly, and that is the Age when they should begin to study Musick. It may not be amiss to mention, that theSopranois most apt to perform the Things required by your Author, and that every different Scale of Voice has something peculiarly relative to its Kind as its own Property; for aSopranohas generally most Volubility, and becomes it best; and also equally the Pathetick. TheContr'Altomore of the Pathetick than the Volubility; theTenorless of the Pathetick, but more of the Volubility than theContr'Alto, though not so much as theSoprano. TheBass, in general more pompous than any, but should not be so boisterous as now too often practised.[4]By this section, and mostly throughout the Work, one sees, the Author calculated this Treatise chiefly for the Advantage of Professors of Musick; but, notwithstanding, it appears in several Places, that his Intention is, that all Lovers of Musick should also be the better for it.[5]The Explanation ofSic vos non vobis,&c.,for the Satisfaction of those who do not perfectly remember it.Virgilhaving composed a Distich, containing the Praise ofAugustus, and a Compliment on his good Fortune, fix'd it on the Palace Gate, without any Name subscrib'd.Augustus, making strict Enquiry after the Author, andVirgil'sModesty not suffering him to own the Verses, oneBathillus, a Poet of a mean Reputation, owned himself the Author, and received Honour and Reward from the Emperor.Virgil, somewhat scandalized at this Accident, fixed an Hemistich in these Words (Sic vos non vobis) four times repeated under the other, where he had placed the former Verses. The Emperor was as diligent to have these Hemistichs filled up, but no-body appearing to do it, at lengthVirgilsupplied them thus:Hos ego Versiculos feci, tulit alter Honores;Sic vos non vobis nidificatis aves.Sic vos non vobis vellera fertis oves.Sic vos non vobis mellificatis apes.Sic vos non vobis fertis aratra boves.i.e. These Verses I made, but another has taken the Applause of them.So ye Birds build not your NestsFor yourselves.So ye Sheep bear not your WoolFor yourselves.So ye Bees make not your HoneyFor yourselves.So ye Oxen submit to the PlowNot for yourselves.Upon this Discovery,Bathillusbecame the Ridicule ofRome, andVirgilacquired a double Reputation.The Distich, whichBathillusclaim'd for his, was this:Nocte plut totâ, redeunt spectacula manè,Divisum Imperium cum Jove Cæsar habet.i.e. It rain'd all Night; in the Morning the publick Shews return:JoveandCæsardivide the Rule of the World. The Compliment is, thatCæsardesigning to exhibit Sports to the People, though the preceding Night was rainy and unpromising, yet such Weather returned with the Morning, as did not disappoint the Solemnity.[6]Alla Capella, Church-Musick where the Flats and Sharps are not mark'd.[7]Seven Cliffs necessary to be known.Pl. I.Numb. 1. By the Help of these Cliffs any Line or Space may be what Note you please. Pl. I. Numb. 2.[8]It is necessary to understand theSol-Fa-ing, and its Rules, which shew where the two Semitones lie in each Octave,Pl. I.Numb. 3. Where Flats or Sharps are marked at the Cliff, the Rule is, if one Flat, That isFa; if more Flats, the last. If one Sharp, That isMi; if more Sharps, the last.[9]His meaning is, that theFrenchare not in the right.[10]See § 2, and the following, in Chap. III. where the Difficulty of theSemitone MajorandMinorare cleared.[11]Voce di Pettois a full Voice, which comes from the Breast by Strength, and is the most sonorous and expressive.Voce di Testacomes more from the Throat, than from the Breast, and is capable of more Volubility.Falsettois a feigned Voice, which is entirely formed in the Throat, has more Volubility than any, but of no Substance.[12]Register; a Term taken from the different Stops of an Organ.[13]The Pitch ofLombardyorVenice, is something more than half a Tone higher than atRome.[14]AMessa di Voceis the holding out and swelling a Note. VidePl. I.Numb. 4. This being a Term of Art, it is necessary to use it, as well asPianofor soft, andFortefor loud.N.B.Our Author recommends here to use any Grace sparingly, which he does in several other Places, and with Reason; for the finest Grace too often repeated grows tiresome.[15]See forAppoggiaturain the next Chapter.[16]This Chapter contains some Enquiries into Matters of Curiosity, and demands a little Attention. The Reader therefore is desired to postpone it to the last.[17]Appoggiaturais a Word to which theEnglishLanguage has not an Equivalent; it is a Note added by the Singer, for the arriving more gracefully to the following Note, either in rising or falling, as is shewn by the Examples in Notes of Musick,Pl. II.Numb. 2. TheFrenchexpress it by two different Terms,Port de VoixandAppuyer; as theEnglishdo by aPrepareand aLead. The WordAppoggiaturais derived fromAppoggiareto lean on. In this Sense, you lean on the first to arrive at the Note intended, rising or falling; and you dwell longer on the Preparation, than the Note for which the Preparation is made, and according to the Value of the Note. The same in a Preparation to a Shake, or a Beat from the Note below. NoAppoggiaturacan be made at the Beginning of a Piece; there must be a Note preceding, from whence it leads.[18]Here begins the Examination of theSemitones Major and Minor, which he promised in § 15. Ch. 1. It may be of Satisfaction to the Studious, to set this Matter at once in a true Light; by which our Author's Doubts will be cleared, and his Reasoning the easier understood. ASemitone Majorchanges Name, Line, and Space:A SemitoneMinor changes neither.Pl. II.Numb. 1. To aSemitone Majorone can go with a Rise oraFall distinctly; to aSemitone Minorone cannotN.B.From aTone MinortheAppoggiaturais better and easier than from aTone Major.[19]These are allTones MajorandMinor, andSemitones Major.Pl. II.Numb. 2.[20]Because they areSemitones Major.Pl. II.Numb. 3.[21]Because they areSemitones Major.Pl. II.Numb. 4.[22]Because they are allSemitones Minor, which may be known by the abovementioned Rule, of their not changing Name, Line, nor Space.Pl. II.Numb. 5. and which makes it manifest, that aSemitone Minorcannot bear anAppoggiatura.[23]For the same Reason, these beingSemitones Minor. Pl. II. Numb. 6.[24]Because one is aSemitone Major, and the other aSemitone Minor.Pl. III.Numb. 7.[25]Because they areSemitones Minor. Pl. III, Numb. 8.[26]TheTone, orMood, you are in, will determine which is aTone MajororMinor; for if you change theMoodorTone, that which was theTone Majormay become theTone Minor, and soVice Versâ: Therefore these two Examples fromCtoD, and fromFtoG, do not hold true.[27]His Perplexity comes from a wrong Notion, in not distinguishing those twoSemitones.[28]All Intervals, rising with anAppoggiatura, arise to the Note with a sort ofBeat, more or less: and the same, descending, arrive to the Note with a sort ofShake, more or less.Pl. III.Numb. 9, 10. One cannot agreeably ascend or descend the Interval of a thirdMajororMinor,Pl. III.Numb 11. But gradually very well.Pl. III.Numb. 12. Examples of false or deceitful Intervals.Pl. III.Numb. 13.[29]So in all Cases where the Interval is deceitful.Pl. III.Numb. 14. With aMessa di Voce.Pl. III.Numb. 15. See forMessa di Voce, Chap. I. § 29, and its Note.[30]In all the modernItalianCompositions theAppoggiatura'sare mark'd, supposing the Singers to be ignorant where to place them. TheFrenchuse them for their Lessons on theHarpsichord, &c., but seldom for the Voice.[31]See for the several Examples of theShakes,Pl. IV.[32]The firstShakeof aTone,Pl. IV.Numb. 1.[33]See for the Meaning of superior and inferiorCadences, Chap. VIII. § 1. Pl. V. Numb. 3.N.B.Prom the inferior or lower Cadences, the first, or full,Tone Shake, is not always excluded; for in a sharp Key it is always aTone, and in a flat Key aSemitone,Pl. IV.Numb. 3.[34]The secondShakeof aSemitone Major,Pl. IV.Numb. 2.[35]The third the shortShake.Pl. IV.Numb. 4.[36]The fourth the risingShake.Pl. IV.Numb. 5.[37]The fifth the descendingShake.Pl. IV.Numb. 6.[38]The sixth the slowShake.Pl. IV.Numb. 7.[39]The seventh the redoubledShake.Pl. IV.Numb. 8.[40]The eighth theTrillo-Mordente, orShakewith aBeat.Pl. IV.Numb. 9.[41]Shakesare generally proper from preceding Notes descending, but not ascending, except on particular Occasions. Never too many, or too near one another; but very bad to begin with them, which is too frequently done. The using so oftenBeats,Shakes, andPrepares, is owing to Lessons on the Lute, Harpsichord, and other Instruments, whose Sounds discontinue, and therefore have Need of this Help.[42]Themark'd Divisionsshould be something like theStaccatoon the Violin, but not too much; against which a Caution will presently be given.[43]TheGliding Notesare like several Notes in one Stroke of the Bow on the Violin.[44]The pronouncingErorinstead ofError; orDallyinstead ofDaly. The not distinguishing; the double Consonants from the single, is an Error but too common at present.[45]See for thesyncopated,Ligatura, orbindingNotes,Pl. IV.Numb. 10.[46]Madrigalsare Pieces in several Parts; the last in Practice were about threescore Years ago; then the Opera's began to be in Vogue, and good Musick and the Knowledge of it began to decline.[47]Musica di Camera.Chamber, or private, Musick; where the Multitude is not courted for Applause, but only the true Judges; and consists chiefly inCantata's,Duetto's, &c. In the Recitative ofCantata's, our Author excelled in a singular Manner for the pathetick Expression of the Words.[48]Cortonaliv'd above forty Years ago.Balarini, in Service at the Court ofVienna, much in Favour with the EmperorJoseph, who made him a Baron.[49]See Broken Cadences, Pl. V. Numb. 1.----Final Cadences, Pl. V. Numb. 2.[50]Motets, or Anthems.[51]The Proverb is,LinguaToscanain boccaRomana.—This regards the different Dialects, inItaly; asNeapolitan,Venetian,&c.the same, in Comparison,LondontoYork, orSomersetshire.[52]The Church-Musick inItalyis all inLatin, exceptOratorio's, which are Entertainments in their Churches. It is therefore necessary to have some Notion of theLatinTongue.[53]The first Caution against imitating injudiciously the Instrumental with the Voice.[54]TheItalianshave a Saying,Voce di Compositore, to denote a bad or an indifferent Voice.[55]Cantabile, the Tender, Passionate, Pathetick; more Singing thanAllegro, which is Lively, Brisk, Gay, and more in the executive Way.[56]Suppose the first Part expressed Anger, and the second relented, and was to express Pity or Compassion, he must be angry again in theDa Capo. This often happens, and is very ridiculous if not done to a real Purpose, and that the Subject and Poetry require it.[57]It is supposed, the Scholar is arrived to the Capacity of knowing Harmony and Counterpoint.[58]The general dividing ofAirsdescribed, to which the Author often refers.[59]With due Deference to our Author, it may be feared, that the Affectation of Singing with Variety has conduced very much to the introducing a bad Taste.[60]Continuation of the general dividingAirsin § 4. The End of this Section is a seasonable Corrective of the Rule prescribed in the foregoing fifth Section.[61]Rivani, calledCiecolino, must have written some Treatise on Time, which is not come to us, therefore no further Account can be given of him.[62]Pistochiwas very famous above fifty Years ago, and refined the Manner of singing inItaly, which was then a little crude. His Merit in this is acknowledged by all his Countrymen, contradicted by none. Briefly, what is recounted of him, is, that when he first appeared to the World, and a Youth, he had a very fine treble Voice, admired and encouraged universally, but by a dissolute Life lost it, and his Fortune. Being reduced to the utmost Misery, he entered into the Service of a Composer, as a Copyist, where he made use of the Opportunity of learning the Rules of Composition, and became a good Proficient. After some Years, he recovered a little Glimpse of Voice, which by Time and Practice turned into a fineContr'Alto. Having Experience on his Side, he took Care of it, and as Encouragement came again, he took the Opportunity of travelling allEuropeover, where hearing the different Manners and Tastes, he appropriated them to himself, and formed that agreeable Mixture, which he produced inItaly, where he was imitated and admired. He at last past many Years, when in an affluent Fortune, at the Court ofAnspach, where he had a Stipend, and lived an agreeable easy Life; and at last retired to a Convent inItaly. It has been remark'd, that though several of his Disciples shewed the Improvement they had from him, yet others made an ill use of it, having not a little contributed to the Introduction of themodernTaste.[63]Sifacio, famous beyond any, for the most singular Beauty of his Voice. His Manner of Singing was remarkably plain, consisting particularly in theMessa di Voce, the putting forth his Voice, and the Expression.There is anItalianSaying, that an hundred Perfections are required in an excellent Singer, and he that hath a fine Voice has ninety-nine of them.It is also certain, that as much as is allotted to Volubility and Tricks, so much is the Beauty of the Voice sacrificed; for the one cannot be done without Prejudice to the other.Sifaciogot that Name from his acting the Part ofSyphaxthe first time he appeared on the Stage. He was inEnglandwhen famous, and belonged to KingJamesthe Second's Chapel. After which he returned toItaly, continuing to be very much admired, but at last was waylaid, and murthered for his Indiscretion.[64]Buzzolini, the Name known, but no Particulars of him.[65]Litigino, in the Service of the EmperorJoseph, and a Scholar ofPistochi.[66]Signora Boschiwas over inEnglandin QueenAnne'sTime; she sung one Season in the Opera's, returned toVenice, and left her Husband behind for several Years; he sung the Bass. She was a Mistress of Musick, but her Voice was on the Decay when she came here.[67]Santini, afterwardsSignora Lotti. She was famous above forty Years ago, and appeared at several Courts inGermany, where she was sent for; then retired toVenice, where she marriedSignor Lotti, Chapel-Master of St.Mark.All these Singers, though they had a Talent particular to themselves, they could, however, sing in several sorts of Stile; on the contrary, one finds few, but what attempt nothing that is out of their Way. A modern Singer of the good Stile, being asked, whether such and such Compositions would not please at present inItaly? No doubt, said he, they would, but where are the Singers that can sing them?[68]Those tremendousAirsare called inItalian,un Aria di Bravura; which cannot perhaps be better translated intoEnglish, than aHectoringSong.[69]Pierre Simone Agostinilived about threescore Years ago. SeveralCantata'sof his Composition are extant, some of them very difficult, not from the Number ofDivisionsin the vocal Part, but from the Expression, and the surprising Incidents, and also the Execution of the Basses. He seems to be the first that put Basses with so much Vivacity; forCharissimibefore him composed with more Simplicity, tho' he is reckoned to be one of the first, who enlivened his Musick in the Movements of his Basses. OfPierre-Simonenothing more is known but that he loved his Bottle, and when he had run up a Bill in some favourite Place, he composed aCantata, and sent it to a certain Cardinal, who never failed sending him a fixed Sum, with which he paid off his Score.[70]Alessandro Stradellalived aboutPier. Simone'sTime, or very little after. He was a most excellent Composer, superior in all Respects to the foregoing, and endowed with distinguishing personal Qualifications. It is reported, that his favourite Instrument was the Harp, with which he sometimes accompanied his Voice, which was agreeable. To hear such a Composer play on the Harp, must have been what we can have no Notion of, by what we now hear. He ended his Life fatally, for he was murthered. The Fact is thus related. Being atGenoa, a Place where the Ladies are allowed to live with more Freedom than in any other Part ofItaly,Stradellahad the honour of being admitted into a noble Family, the Lady whereof was a great Lover of Musick. Her Brother, a wrong-headed Man, takes Umbrage atStradella'sfrequent Visits there, and forbids him going upon his Peril, which OrderStradellaobeys. The Lady's Husband not having seenStradellaat his House for some Days, reproaches him with it.Stradella, for his Excuse, tells him his Brother-in-Law's Order, which the Nobleman is angry with, and charges him to continue his Visits as formerly; he had been there scarce three or four Times, but one Evening going Home, attended by a Servant and a Lanthorn, four Ruffians rushed out, the Lady's Brother one among them, and withStilettsor Daggers stabb'd him, and left him dead upon the Place. The people ofGenoaall in a Rage fought for the Murtherer, who was forced to fly, his Quality not being able to protect him. In another Account of him, this Particularity is mentioned; that the Murderers pursued him toRome, and on Enquiry learned, that anOratorioof his Composition was to be performed that Evening; they went with an Intent to execute their Design, but were so moved with his Composition, that they rather chose to tell him his Danger, advised him to depart, and be upon his Guard. But, being pursued by others, he lost his Life. His Fate has been lamented by every Body, especially by those who knew his Merit, and none have thought him deserving so sad a Catastrophe.[71]WhenTosiwrit this, the Composers in Vogue wereScarlatti,Bononcini,Gasparini,Mancini, &c. The last and modern Stile has pretty well spread itself all overItaly, and begins to have a great Tendency to the same beyond theAlps, as he calls it.[72]TheMoods, here spoken of, our Author has not well explained. The Foundation he goes upon are the eight ChurchMoods. But his Meaning and Complaint is, that commonly the Compositions are inC, or inA, with their Transpositions, and that the others are not used or known. But to particularise here what theMoodsare, and how to be used, is impossible, for that Branch only would require a large Treatise by itself.[73]TheAirs, sung in Unison with the Instruments, were invented in theVenetianOpera's, to please theBarcaroles, who are their Watermen: and very often their Applause supports an Opera. TheRomanSchool always distinguished itself, and required Compositions of Study and Care. How it is now atRomeis doubtful; but we do not hear that there are anyCorelli's.[74]Maestro di Capella, Master of the Chapel, the highest Title belonging to a Master of Musick. Even now the Singers inItalygive the Composers of Opera's the Title ofSignior Maestroas a Mark of their Submission.[75]Contrapunto, Counterpoint, or Note against Note, the first Rudiments of Composition.[76]Furlana. A sort of Country Dance, orCheshire-Round.It is reported, that the Church-Musick inItaly, far from keeping that Majesty it ought, is vastly abused the other way; and some Singers have had the Impudence to have other Words put to favourite OperaAirsand sung them in Churches. This Abuse is not new, for St.Augustinecomplains of it; andPalestrinaprevented in his Time Musick from being banished the Churches.[77]Tono, orMood, and sometimes means the Key. Our Author in this Section is fond of a Pun, which cannot well be translated.Tonois sometimes writTuonoandTuonosignifies Thunder; therefore the Ignorant answers, he knows no otherTuonobut that which is preceded by Lightning.[78]Cadences; or, principal Closes inAirs.[79]For superior and inferiorCadences, see Pl. V. Numb. 3.[80]BrokenCadences, see Example, Chap. V. § 13, and its Note.[81]Cadencesthat fall a Fifth, with and without Words, Pl. V, Numb. 4 and 5.[82]By theFinal Cadenceshere mentioned, the first is at the End of the first Part of theAir; the Second at the End of the second Part: and the Third at the end of the first Part when repeated again, or at theDa Capo, as it is always expressed inItalian.[83]For the resolved and unresolvedCadences, see Pl. V. Numb. 6 and 7.[84]See for the Examples, Pl. V. Numb. 8.[85]See Example, Pl. VI. Numb. 1.[86]See Example, Pl. VI. Numb. 2.N.B.AnAppoggiaturacannot be made on an unaccented Syllable.[87]See for Examples, Pl. VI. Numb. 3.[88]See for Examples, Pl. VI. Numb. 4.[89]Some, after a tender and passionateAir, make a lively merryCadence; and, after a briskAir, end it with one that is doleful.[90]Though this Chapter regards Singers who make it their Profession, and particularly those who sing on the Stage, yet there are many excellent Precepts interspersed, that are of Use to Lovers of Musick.[91]Kyrie, the first Word of the Mass-Musick in the Cathedral Stile, is not so difficult to them as theCantata's; and theLatinin the Service, being familiar to them, saves them the Trouble of attending to the Words.[92]Thomas Morley(who lived above an hundred Years ago) in the third Part of his Treatise, pag. 179, speaking ofMotettsor Anthems, complains thus:—'But I see not what Passions or Motions it can stir up, being as most Men doe commonlie Sing,—leaving out the Ditty—as it were a Musick made onely for Instruments, which will indeed shew the Nature of the Musick, but never carry the Spirit and (as it were) that lively Soule which the Ditty giveth; but of this enough. And to return to the expressing of the Ditty, the Matter is now come to that State, that though a Song be never so wel made, and never so aptly applyed to the Words, yet shall you hardly find Singers to expresse it as it ought to be; for most of our Church-men, (so they crie louder in the Quire then their Fellowes) care for no more; whereas, by the contrarie, they ought to study how to vowel and sing clean expressing their Words with Devotion and Passion, whereby to draw the Hearer as it were in Chaines of Gold by the Eares to the Consideration of holy Things. But this, for the most part, you shall find amongst them, that let them continue never so long in the Church, yea though it were twentie Years, they will never study to sing better than they did the first Day of their Preferment to that Place; so that it seems, that having obtained the Living which they sought for, they have little or no Care at all, either of their own Credit, or well discharging of that Dutie whereby they have their Maintenance.'[93]InItaly, the Courts ofPalma,Modena,Turin, &c. and inGermany, the Courts ofVienna,Bavaria,Hanover,Brandenbourg,Palatine,Saxony, &c.[94]There have been such, who valued themselves for shaking a Room, breaking the Windows, and stunning the Auditors with their Voice.[95]The renowned AbbotSteffani, so famous for hisDuetto's, would never suffer such luxuriant Singers to perform any of them, unless they kept themselves within Bounds.[96]Nicolini, who came the first time intoEnglandabout the Year 1708, had both Qualities, more than any that have come since. He acted to Perfection, and did not sing much inferior. His Variations in theAirswere excellent; but in hisCadenceshe had a little of the antiquated Tricks.Valentini, (who was here at the same Time) a Scholar ofPistochi, though not so powerful in Voice or Action asNicolini, was more chaste in his Singing.[97]The two Women, he points at, areCuzzoniandFaustina.[98]TheCarnavalis a Festival inItaly, particularly celebrated atVenicefromChristmastoLent, when all Sorts of Diversions are permitted; and at that Time there are sometimes three different Theatres for Opera's only.[99]Our Author has often mentioned Time; the Regard to it, the Strictness of it, and how much it is neglected and unobserv'd. In this Place speaking of stealing the Time, it regards particularly the Vocal, or the Performance on a single Instrument in thePathetickandTender; when the Bass goes an exactly regular Pace, the other Part retards or anticipates in a singular Manner, for the Sake of Expression, but after That returns to its Exactness, to be guided by the Bass. Experience and Taste must teach it. A mechanical Method of going on with the Bass will easily distinguish the Merit of the other Manner.[100]A farther Animadversion against imitating Instruments with the Voice.[101]Many Graces may be very good and proper for a Violin, that would be very improper for a Hautboy; and so with every Species of Instruments that have something peculiar. It is a very great Error (too much in Practice) for the Voice, (which should serve as a Standard to be imitated by Instruments,) to copy all the Tricks practised on the several Instruments, to its greatest Detriment.[102]PassoandPassagio. The Difference is, that aPassois a sudden Grace or Flight, not uniform. See Pl. VI. Numb. 5. APassagiois a Division, a Continuation, or a Succession of Notes, ascending or descending with Uniformity. See Pl. VI. Numb. 6.[103]This alludes to theFrenchManner of Singing, from whence that Defect is copy'd.[104]The Time he alludes to, is at present between thirty and forty Years ago.[105]Compare this Section with Section 41 in this Chapter and the Note.[106]This is a Fault more than once heard of, inOratario'sorMotetts.[107]See Example, Pl. VI. Numb. 7.[108]FaustinaandCuzzoni, they both having within these few Years been inEngland, there needs no other Remark to be made on them, but to inform Futurity, that theEnglishAudience distinguish'd them Both and at the same time, according to their Merit, and as our Author has describ'd them.It may be worth remarking, thatCastilione, who lived above two hundred Years ago, in hisCortegiano, describesBidon, andMarchetto Cara, two famous Singers in his Time, with the same distinguishing Qualifications.[109]See Examples, Pl. VI. Numb. 8 and 9.

[1]When Arts and Sciences were retrieving from the Barbarism in which they were buried, Musick chiefly took its Rise inFlanders, and the Composers of Musick of that Nation were dispersed all overEurope, to the Improvement of others. InItalythere arose from that School, among several others,P. Alis. Palestrina, a Genius so extraordinary, that he is looked upon as theRaphaelamong the Musicians. He lived in PopeLeothe Tenth's Time; and no Musick, that we know of, is performed at the Pope's Chapel, to this Day, but of his Composition, except the famousMiserereofAllegri, who liv'd a little time afterPalestrina.

[2]Our Author seems to be a little too partial in Favour of the Singer, all momentary Productions being the same; though it must be allowed, that by reason of the Expression of the Words, any Error in Singing will be more capital, than if the same were committed on an Instrument.

[3]The Author directs this for the Instruction of aSoprano, or a treble Voice, because Youth possesses that Voice mostly, and that is the Age when they should begin to study Musick. It may not be amiss to mention, that theSopranois most apt to perform the Things required by your Author, and that every different Scale of Voice has something peculiarly relative to its Kind as its own Property; for aSopranohas generally most Volubility, and becomes it best; and also equally the Pathetick. TheContr'Altomore of the Pathetick than the Volubility; theTenorless of the Pathetick, but more of the Volubility than theContr'Alto, though not so much as theSoprano. TheBass, in general more pompous than any, but should not be so boisterous as now too often practised.

[4]By this section, and mostly throughout the Work, one sees, the Author calculated this Treatise chiefly for the Advantage of Professors of Musick; but, notwithstanding, it appears in several Places, that his Intention is, that all Lovers of Musick should also be the better for it.

[5]The Explanation ofSic vos non vobis,&c.,for the Satisfaction of those who do not perfectly remember it.Virgilhaving composed a Distich, containing the Praise ofAugustus, and a Compliment on his good Fortune, fix'd it on the Palace Gate, without any Name subscrib'd.Augustus, making strict Enquiry after the Author, andVirgil'sModesty not suffering him to own the Verses, oneBathillus, a Poet of a mean Reputation, owned himself the Author, and received Honour and Reward from the Emperor.Virgil, somewhat scandalized at this Accident, fixed an Hemistich in these Words (Sic vos non vobis) four times repeated under the other, where he had placed the former Verses. The Emperor was as diligent to have these Hemistichs filled up, but no-body appearing to do it, at lengthVirgilsupplied them thus:Hos ego Versiculos feci, tulit alter Honores;Sic vos non vobis nidificatis aves.Sic vos non vobis vellera fertis oves.Sic vos non vobis mellificatis apes.Sic vos non vobis fertis aratra boves.i.e. These Verses I made, but another has taken the Applause of them.So ye Birds build not your NestsFor yourselves.So ye Sheep bear not your WoolFor yourselves.So ye Bees make not your HoneyFor yourselves.So ye Oxen submit to the PlowNot for yourselves.Upon this Discovery,Bathillusbecame the Ridicule ofRome, andVirgilacquired a double Reputation.The Distich, whichBathillusclaim'd for his, was this:Nocte plut totâ, redeunt spectacula manè,Divisum Imperium cum Jove Cæsar habet.i.e. It rain'd all Night; in the Morning the publick Shews return:JoveandCæsardivide the Rule of the World. The Compliment is, thatCæsardesigning to exhibit Sports to the People, though the preceding Night was rainy and unpromising, yet such Weather returned with the Morning, as did not disappoint the Solemnity.

[5]The Explanation ofSic vos non vobis,&c.,for the Satisfaction of those who do not perfectly remember it.

Virgilhaving composed a Distich, containing the Praise ofAugustus, and a Compliment on his good Fortune, fix'd it on the Palace Gate, without any Name subscrib'd.Augustus, making strict Enquiry after the Author, andVirgil'sModesty not suffering him to own the Verses, oneBathillus, a Poet of a mean Reputation, owned himself the Author, and received Honour and Reward from the Emperor.Virgil, somewhat scandalized at this Accident, fixed an Hemistich in these Words (Sic vos non vobis) four times repeated under the other, where he had placed the former Verses. The Emperor was as diligent to have these Hemistichs filled up, but no-body appearing to do it, at lengthVirgilsupplied them thus:

Hos ego Versiculos feci, tulit alter Honores;Sic vos non vobis nidificatis aves.Sic vos non vobis vellera fertis oves.Sic vos non vobis mellificatis apes.Sic vos non vobis fertis aratra boves.

i.e. These Verses I made, but another has taken the Applause of them.

So ye Birds build not your NestsFor yourselves.So ye Sheep bear not your WoolFor yourselves.So ye Bees make not your HoneyFor yourselves.So ye Oxen submit to the PlowNot for yourselves.

Upon this Discovery,Bathillusbecame the Ridicule ofRome, andVirgilacquired a double Reputation.

The Distich, whichBathillusclaim'd for his, was this:

Nocte plut totâ, redeunt spectacula manè,Divisum Imperium cum Jove Cæsar habet.

i.e. It rain'd all Night; in the Morning the publick Shews return:JoveandCæsardivide the Rule of the World. The Compliment is, thatCæsardesigning to exhibit Sports to the People, though the preceding Night was rainy and unpromising, yet such Weather returned with the Morning, as did not disappoint the Solemnity.

[6]Alla Capella, Church-Musick where the Flats and Sharps are not mark'd.

[7]Seven Cliffs necessary to be known.Pl. I.Numb. 1. By the Help of these Cliffs any Line or Space may be what Note you please. Pl. I. Numb. 2.

[8]It is necessary to understand theSol-Fa-ing, and its Rules, which shew where the two Semitones lie in each Octave,Pl. I.Numb. 3. Where Flats or Sharps are marked at the Cliff, the Rule is, if one Flat, That isFa; if more Flats, the last. If one Sharp, That isMi; if more Sharps, the last.

[9]His meaning is, that theFrenchare not in the right.

[10]See § 2, and the following, in Chap. III. where the Difficulty of theSemitone MajorandMinorare cleared.

[11]Voce di Pettois a full Voice, which comes from the Breast by Strength, and is the most sonorous and expressive.Voce di Testacomes more from the Throat, than from the Breast, and is capable of more Volubility.Falsettois a feigned Voice, which is entirely formed in the Throat, has more Volubility than any, but of no Substance.

[12]Register; a Term taken from the different Stops of an Organ.

[13]The Pitch ofLombardyorVenice, is something more than half a Tone higher than atRome.

[14]AMessa di Voceis the holding out and swelling a Note. VidePl. I.Numb. 4. This being a Term of Art, it is necessary to use it, as well asPianofor soft, andFortefor loud.N.B.Our Author recommends here to use any Grace sparingly, which he does in several other Places, and with Reason; for the finest Grace too often repeated grows tiresome.

[15]See forAppoggiaturain the next Chapter.

[16]This Chapter contains some Enquiries into Matters of Curiosity, and demands a little Attention. The Reader therefore is desired to postpone it to the last.

[17]Appoggiaturais a Word to which theEnglishLanguage has not an Equivalent; it is a Note added by the Singer, for the arriving more gracefully to the following Note, either in rising or falling, as is shewn by the Examples in Notes of Musick,Pl. II.Numb. 2. TheFrenchexpress it by two different Terms,Port de VoixandAppuyer; as theEnglishdo by aPrepareand aLead. The WordAppoggiaturais derived fromAppoggiareto lean on. In this Sense, you lean on the first to arrive at the Note intended, rising or falling; and you dwell longer on the Preparation, than the Note for which the Preparation is made, and according to the Value of the Note. The same in a Preparation to a Shake, or a Beat from the Note below. NoAppoggiaturacan be made at the Beginning of a Piece; there must be a Note preceding, from whence it leads.

[18]Here begins the Examination of theSemitones Major and Minor, which he promised in § 15. Ch. 1. It may be of Satisfaction to the Studious, to set this Matter at once in a true Light; by which our Author's Doubts will be cleared, and his Reasoning the easier understood. ASemitone Majorchanges Name, Line, and Space:A SemitoneMinor changes neither.Pl. II.Numb. 1. To aSemitone Majorone can go with a Rise oraFall distinctly; to aSemitone Minorone cannotN.B.From aTone MinortheAppoggiaturais better and easier than from aTone Major.

[19]These are allTones MajorandMinor, andSemitones Major.Pl. II.Numb. 2.

[20]Because they areSemitones Major.Pl. II.Numb. 3.

[21]Because they areSemitones Major.Pl. II.Numb. 4.

[22]Because they are allSemitones Minor, which may be known by the abovementioned Rule, of their not changing Name, Line, nor Space.Pl. II.Numb. 5. and which makes it manifest, that aSemitone Minorcannot bear anAppoggiatura.

[23]For the same Reason, these beingSemitones Minor. Pl. II. Numb. 6.

[24]Because one is aSemitone Major, and the other aSemitone Minor.Pl. III.Numb. 7.

[25]Because they areSemitones Minor. Pl. III, Numb. 8.

[26]TheTone, orMood, you are in, will determine which is aTone MajororMinor; for if you change theMoodorTone, that which was theTone Majormay become theTone Minor, and soVice Versâ: Therefore these two Examples fromCtoD, and fromFtoG, do not hold true.

[27]His Perplexity comes from a wrong Notion, in not distinguishing those twoSemitones.

[28]All Intervals, rising with anAppoggiatura, arise to the Note with a sort ofBeat, more or less: and the same, descending, arrive to the Note with a sort ofShake, more or less.Pl. III.Numb. 9, 10. One cannot agreeably ascend or descend the Interval of a thirdMajororMinor,Pl. III.Numb 11. But gradually very well.Pl. III.Numb. 12. Examples of false or deceitful Intervals.Pl. III.Numb. 13.

[29]So in all Cases where the Interval is deceitful.Pl. III.Numb. 14. With aMessa di Voce.Pl. III.Numb. 15. See forMessa di Voce, Chap. I. § 29, and its Note.

[30]In all the modernItalianCompositions theAppoggiatura'sare mark'd, supposing the Singers to be ignorant where to place them. TheFrenchuse them for their Lessons on theHarpsichord, &c., but seldom for the Voice.

[31]See for the several Examples of theShakes,Pl. IV.

[32]The firstShakeof aTone,Pl. IV.Numb. 1.

[33]See for the Meaning of superior and inferiorCadences, Chap. VIII. § 1. Pl. V. Numb. 3.N.B.Prom the inferior or lower Cadences, the first, or full,Tone Shake, is not always excluded; for in a sharp Key it is always aTone, and in a flat Key aSemitone,Pl. IV.Numb. 3.

[34]The secondShakeof aSemitone Major,Pl. IV.Numb. 2.

[35]The third the shortShake.Pl. IV.Numb. 4.

[36]The fourth the risingShake.Pl. IV.Numb. 5.

[37]The fifth the descendingShake.Pl. IV.Numb. 6.

[38]The sixth the slowShake.Pl. IV.Numb. 7.

[39]The seventh the redoubledShake.Pl. IV.Numb. 8.

[40]The eighth theTrillo-Mordente, orShakewith aBeat.Pl. IV.Numb. 9.

[41]Shakesare generally proper from preceding Notes descending, but not ascending, except on particular Occasions. Never too many, or too near one another; but very bad to begin with them, which is too frequently done. The using so oftenBeats,Shakes, andPrepares, is owing to Lessons on the Lute, Harpsichord, and other Instruments, whose Sounds discontinue, and therefore have Need of this Help.

[42]Themark'd Divisionsshould be something like theStaccatoon the Violin, but not too much; against which a Caution will presently be given.

[43]TheGliding Notesare like several Notes in one Stroke of the Bow on the Violin.

[44]The pronouncingErorinstead ofError; orDallyinstead ofDaly. The not distinguishing; the double Consonants from the single, is an Error but too common at present.

[45]See for thesyncopated,Ligatura, orbindingNotes,Pl. IV.Numb. 10.

[46]Madrigalsare Pieces in several Parts; the last in Practice were about threescore Years ago; then the Opera's began to be in Vogue, and good Musick and the Knowledge of it began to decline.

[47]Musica di Camera.Chamber, or private, Musick; where the Multitude is not courted for Applause, but only the true Judges; and consists chiefly inCantata's,Duetto's, &c. In the Recitative ofCantata's, our Author excelled in a singular Manner for the pathetick Expression of the Words.

[48]Cortonaliv'd above forty Years ago.Balarini, in Service at the Court ofVienna, much in Favour with the EmperorJoseph, who made him a Baron.

[49]See Broken Cadences, Pl. V. Numb. 1.----Final Cadences, Pl. V. Numb. 2.

[49]See Broken Cadences, Pl. V. Numb. 1.

----Final Cadences, Pl. V. Numb. 2.

[50]Motets, or Anthems.

[51]The Proverb is,LinguaToscanain boccaRomana.—This regards the different Dialects, inItaly; asNeapolitan,Venetian,&c.the same, in Comparison,LondontoYork, orSomersetshire.

[52]The Church-Musick inItalyis all inLatin, exceptOratorio's, which are Entertainments in their Churches. It is therefore necessary to have some Notion of theLatinTongue.

[53]The first Caution against imitating injudiciously the Instrumental with the Voice.

[54]TheItalianshave a Saying,Voce di Compositore, to denote a bad or an indifferent Voice.

[55]Cantabile, the Tender, Passionate, Pathetick; more Singing thanAllegro, which is Lively, Brisk, Gay, and more in the executive Way.

[56]Suppose the first Part expressed Anger, and the second relented, and was to express Pity or Compassion, he must be angry again in theDa Capo. This often happens, and is very ridiculous if not done to a real Purpose, and that the Subject and Poetry require it.

[57]It is supposed, the Scholar is arrived to the Capacity of knowing Harmony and Counterpoint.

[58]The general dividing ofAirsdescribed, to which the Author often refers.

[59]With due Deference to our Author, it may be feared, that the Affectation of Singing with Variety has conduced very much to the introducing a bad Taste.

[60]Continuation of the general dividingAirsin § 4. The End of this Section is a seasonable Corrective of the Rule prescribed in the foregoing fifth Section.

[61]Rivani, calledCiecolino, must have written some Treatise on Time, which is not come to us, therefore no further Account can be given of him.

[62]Pistochiwas very famous above fifty Years ago, and refined the Manner of singing inItaly, which was then a little crude. His Merit in this is acknowledged by all his Countrymen, contradicted by none. Briefly, what is recounted of him, is, that when he first appeared to the World, and a Youth, he had a very fine treble Voice, admired and encouraged universally, but by a dissolute Life lost it, and his Fortune. Being reduced to the utmost Misery, he entered into the Service of a Composer, as a Copyist, where he made use of the Opportunity of learning the Rules of Composition, and became a good Proficient. After some Years, he recovered a little Glimpse of Voice, which by Time and Practice turned into a fineContr'Alto. Having Experience on his Side, he took Care of it, and as Encouragement came again, he took the Opportunity of travelling allEuropeover, where hearing the different Manners and Tastes, he appropriated them to himself, and formed that agreeable Mixture, which he produced inItaly, where he was imitated and admired. He at last past many Years, when in an affluent Fortune, at the Court ofAnspach, where he had a Stipend, and lived an agreeable easy Life; and at last retired to a Convent inItaly. It has been remark'd, that though several of his Disciples shewed the Improvement they had from him, yet others made an ill use of it, having not a little contributed to the Introduction of themodernTaste.

[63]Sifacio, famous beyond any, for the most singular Beauty of his Voice. His Manner of Singing was remarkably plain, consisting particularly in theMessa di Voce, the putting forth his Voice, and the Expression.There is anItalianSaying, that an hundred Perfections are required in an excellent Singer, and he that hath a fine Voice has ninety-nine of them.It is also certain, that as much as is allotted to Volubility and Tricks, so much is the Beauty of the Voice sacrificed; for the one cannot be done without Prejudice to the other.Sifaciogot that Name from his acting the Part ofSyphaxthe first time he appeared on the Stage. He was inEnglandwhen famous, and belonged to KingJamesthe Second's Chapel. After which he returned toItaly, continuing to be very much admired, but at last was waylaid, and murthered for his Indiscretion.

There is anItalianSaying, that an hundred Perfections are required in an excellent Singer, and he that hath a fine Voice has ninety-nine of them.

It is also certain, that as much as is allotted to Volubility and Tricks, so much is the Beauty of the Voice sacrificed; for the one cannot be done without Prejudice to the other.

Sifaciogot that Name from his acting the Part ofSyphaxthe first time he appeared on the Stage. He was inEnglandwhen famous, and belonged to KingJamesthe Second's Chapel. After which he returned toItaly, continuing to be very much admired, but at last was waylaid, and murthered for his Indiscretion.

[64]Buzzolini, the Name known, but no Particulars of him.

[65]Litigino, in the Service of the EmperorJoseph, and a Scholar ofPistochi.

[66]Signora Boschiwas over inEnglandin QueenAnne'sTime; she sung one Season in the Opera's, returned toVenice, and left her Husband behind for several Years; he sung the Bass. She was a Mistress of Musick, but her Voice was on the Decay when she came here.

[67]Santini, afterwardsSignora Lotti. She was famous above forty Years ago, and appeared at several Courts inGermany, where she was sent for; then retired toVenice, where she marriedSignor Lotti, Chapel-Master of St.Mark.All these Singers, though they had a Talent particular to themselves, they could, however, sing in several sorts of Stile; on the contrary, one finds few, but what attempt nothing that is out of their Way. A modern Singer of the good Stile, being asked, whether such and such Compositions would not please at present inItaly? No doubt, said he, they would, but where are the Singers that can sing them?

All these Singers, though they had a Talent particular to themselves, they could, however, sing in several sorts of Stile; on the contrary, one finds few, but what attempt nothing that is out of their Way. A modern Singer of the good Stile, being asked, whether such and such Compositions would not please at present inItaly? No doubt, said he, they would, but where are the Singers that can sing them?

[68]Those tremendousAirsare called inItalian,un Aria di Bravura; which cannot perhaps be better translated intoEnglish, than aHectoringSong.

[69]Pierre Simone Agostinilived about threescore Years ago. SeveralCantata'sof his Composition are extant, some of them very difficult, not from the Number ofDivisionsin the vocal Part, but from the Expression, and the surprising Incidents, and also the Execution of the Basses. He seems to be the first that put Basses with so much Vivacity; forCharissimibefore him composed with more Simplicity, tho' he is reckoned to be one of the first, who enlivened his Musick in the Movements of his Basses. OfPierre-Simonenothing more is known but that he loved his Bottle, and when he had run up a Bill in some favourite Place, he composed aCantata, and sent it to a certain Cardinal, who never failed sending him a fixed Sum, with which he paid off his Score.

[70]Alessandro Stradellalived aboutPier. Simone'sTime, or very little after. He was a most excellent Composer, superior in all Respects to the foregoing, and endowed with distinguishing personal Qualifications. It is reported, that his favourite Instrument was the Harp, with which he sometimes accompanied his Voice, which was agreeable. To hear such a Composer play on the Harp, must have been what we can have no Notion of, by what we now hear. He ended his Life fatally, for he was murthered. The Fact is thus related. Being atGenoa, a Place where the Ladies are allowed to live with more Freedom than in any other Part ofItaly,Stradellahad the honour of being admitted into a noble Family, the Lady whereof was a great Lover of Musick. Her Brother, a wrong-headed Man, takes Umbrage atStradella'sfrequent Visits there, and forbids him going upon his Peril, which OrderStradellaobeys. The Lady's Husband not having seenStradellaat his House for some Days, reproaches him with it.Stradella, for his Excuse, tells him his Brother-in-Law's Order, which the Nobleman is angry with, and charges him to continue his Visits as formerly; he had been there scarce three or four Times, but one Evening going Home, attended by a Servant and a Lanthorn, four Ruffians rushed out, the Lady's Brother one among them, and withStilettsor Daggers stabb'd him, and left him dead upon the Place. The people ofGenoaall in a Rage fought for the Murtherer, who was forced to fly, his Quality not being able to protect him. In another Account of him, this Particularity is mentioned; that the Murderers pursued him toRome, and on Enquiry learned, that anOratorioof his Composition was to be performed that Evening; they went with an Intent to execute their Design, but were so moved with his Composition, that they rather chose to tell him his Danger, advised him to depart, and be upon his Guard. But, being pursued by others, he lost his Life. His Fate has been lamented by every Body, especially by those who knew his Merit, and none have thought him deserving so sad a Catastrophe.

[71]WhenTosiwrit this, the Composers in Vogue wereScarlatti,Bononcini,Gasparini,Mancini, &c. The last and modern Stile has pretty well spread itself all overItaly, and begins to have a great Tendency to the same beyond theAlps, as he calls it.

[72]TheMoods, here spoken of, our Author has not well explained. The Foundation he goes upon are the eight ChurchMoods. But his Meaning and Complaint is, that commonly the Compositions are inC, or inA, with their Transpositions, and that the others are not used or known. But to particularise here what theMoodsare, and how to be used, is impossible, for that Branch only would require a large Treatise by itself.

[73]TheAirs, sung in Unison with the Instruments, were invented in theVenetianOpera's, to please theBarcaroles, who are their Watermen: and very often their Applause supports an Opera. TheRomanSchool always distinguished itself, and required Compositions of Study and Care. How it is now atRomeis doubtful; but we do not hear that there are anyCorelli's.

[74]Maestro di Capella, Master of the Chapel, the highest Title belonging to a Master of Musick. Even now the Singers inItalygive the Composers of Opera's the Title ofSignior Maestroas a Mark of their Submission.

[75]Contrapunto, Counterpoint, or Note against Note, the first Rudiments of Composition.

[76]Furlana. A sort of Country Dance, orCheshire-Round.It is reported, that the Church-Musick inItaly, far from keeping that Majesty it ought, is vastly abused the other way; and some Singers have had the Impudence to have other Words put to favourite OperaAirsand sung them in Churches. This Abuse is not new, for St.Augustinecomplains of it; andPalestrinaprevented in his Time Musick from being banished the Churches.

[76]Furlana. A sort of Country Dance, orCheshire-Round.

It is reported, that the Church-Musick inItaly, far from keeping that Majesty it ought, is vastly abused the other way; and some Singers have had the Impudence to have other Words put to favourite OperaAirsand sung them in Churches. This Abuse is not new, for St.Augustinecomplains of it; andPalestrinaprevented in his Time Musick from being banished the Churches.

[77]Tono, orMood, and sometimes means the Key. Our Author in this Section is fond of a Pun, which cannot well be translated.Tonois sometimes writTuonoandTuonosignifies Thunder; therefore the Ignorant answers, he knows no otherTuonobut that which is preceded by Lightning.

[78]Cadences; or, principal Closes inAirs.

[79]For superior and inferiorCadences, see Pl. V. Numb. 3.

[80]BrokenCadences, see Example, Chap. V. § 13, and its Note.

[81]Cadencesthat fall a Fifth, with and without Words, Pl. V, Numb. 4 and 5.

[82]By theFinal Cadenceshere mentioned, the first is at the End of the first Part of theAir; the Second at the End of the second Part: and the Third at the end of the first Part when repeated again, or at theDa Capo, as it is always expressed inItalian.

[83]For the resolved and unresolvedCadences, see Pl. V. Numb. 6 and 7.

[84]See for the Examples, Pl. V. Numb. 8.

[85]See Example, Pl. VI. Numb. 1.

[86]See Example, Pl. VI. Numb. 2.N.B.AnAppoggiaturacannot be made on an unaccented Syllable.

[86]See Example, Pl. VI. Numb. 2.

N.B.AnAppoggiaturacannot be made on an unaccented Syllable.

[87]See for Examples, Pl. VI. Numb. 3.

[88]See for Examples, Pl. VI. Numb. 4.

[89]Some, after a tender and passionateAir, make a lively merryCadence; and, after a briskAir, end it with one that is doleful.

[90]Though this Chapter regards Singers who make it their Profession, and particularly those who sing on the Stage, yet there are many excellent Precepts interspersed, that are of Use to Lovers of Musick.

[91]Kyrie, the first Word of the Mass-Musick in the Cathedral Stile, is not so difficult to them as theCantata's; and theLatinin the Service, being familiar to them, saves them the Trouble of attending to the Words.

[92]Thomas Morley(who lived above an hundred Years ago) in the third Part of his Treatise, pag. 179, speaking ofMotettsor Anthems, complains thus:—'But I see not what Passions or Motions it can stir up, being as most Men doe commonlie Sing,—leaving out the Ditty—as it were a Musick made onely for Instruments, which will indeed shew the Nature of the Musick, but never carry the Spirit and (as it were) that lively Soule which the Ditty giveth; but of this enough. And to return to the expressing of the Ditty, the Matter is now come to that State, that though a Song be never so wel made, and never so aptly applyed to the Words, yet shall you hardly find Singers to expresse it as it ought to be; for most of our Church-men, (so they crie louder in the Quire then their Fellowes) care for no more; whereas, by the contrarie, they ought to study how to vowel and sing clean expressing their Words with Devotion and Passion, whereby to draw the Hearer as it were in Chaines of Gold by the Eares to the Consideration of holy Things. But this, for the most part, you shall find amongst them, that let them continue never so long in the Church, yea though it were twentie Years, they will never study to sing better than they did the first Day of their Preferment to that Place; so that it seems, that having obtained the Living which they sought for, they have little or no Care at all, either of their own Credit, or well discharging of that Dutie whereby they have their Maintenance.'

[93]InItaly, the Courts ofPalma,Modena,Turin, &c. and inGermany, the Courts ofVienna,Bavaria,Hanover,Brandenbourg,Palatine,Saxony, &c.

[94]There have been such, who valued themselves for shaking a Room, breaking the Windows, and stunning the Auditors with their Voice.

[95]The renowned AbbotSteffani, so famous for hisDuetto's, would never suffer such luxuriant Singers to perform any of them, unless they kept themselves within Bounds.

[96]Nicolini, who came the first time intoEnglandabout the Year 1708, had both Qualities, more than any that have come since. He acted to Perfection, and did not sing much inferior. His Variations in theAirswere excellent; but in hisCadenceshe had a little of the antiquated Tricks.Valentini, (who was here at the same Time) a Scholar ofPistochi, though not so powerful in Voice or Action asNicolini, was more chaste in his Singing.

[97]The two Women, he points at, areCuzzoniandFaustina.

[98]TheCarnavalis a Festival inItaly, particularly celebrated atVenicefromChristmastoLent, when all Sorts of Diversions are permitted; and at that Time there are sometimes three different Theatres for Opera's only.

[99]Our Author has often mentioned Time; the Regard to it, the Strictness of it, and how much it is neglected and unobserv'd. In this Place speaking of stealing the Time, it regards particularly the Vocal, or the Performance on a single Instrument in thePathetickandTender; when the Bass goes an exactly regular Pace, the other Part retards or anticipates in a singular Manner, for the Sake of Expression, but after That returns to its Exactness, to be guided by the Bass. Experience and Taste must teach it. A mechanical Method of going on with the Bass will easily distinguish the Merit of the other Manner.

[100]A farther Animadversion against imitating Instruments with the Voice.

[101]Many Graces may be very good and proper for a Violin, that would be very improper for a Hautboy; and so with every Species of Instruments that have something peculiar. It is a very great Error (too much in Practice) for the Voice, (which should serve as a Standard to be imitated by Instruments,) to copy all the Tricks practised on the several Instruments, to its greatest Detriment.

[102]PassoandPassagio. The Difference is, that aPassois a sudden Grace or Flight, not uniform. See Pl. VI. Numb. 5. APassagiois a Division, a Continuation, or a Succession of Notes, ascending or descending with Uniformity. See Pl. VI. Numb. 6.

[103]This alludes to theFrenchManner of Singing, from whence that Defect is copy'd.

[104]The Time he alludes to, is at present between thirty and forty Years ago.

[105]Compare this Section with Section 41 in this Chapter and the Note.

[106]This is a Fault more than once heard of, inOratario'sorMotetts.

[107]See Example, Pl. VI. Numb. 7.

[108]FaustinaandCuzzoni, they both having within these few Years been inEngland, there needs no other Remark to be made on them, but to inform Futurity, that theEnglishAudience distinguish'd them Both and at the same time, according to their Merit, and as our Author has describ'd them.It may be worth remarking, thatCastilione, who lived above two hundred Years ago, in hisCortegiano, describesBidon, andMarchetto Cara, two famous Singers in his Time, with the same distinguishing Qualifications.

It may be worth remarking, thatCastilione, who lived above two hundred Years ago, in hisCortegiano, describesBidon, andMarchetto Cara, two famous Singers in his Time, with the same distinguishing Qualifications.

[109]See Examples, Pl. VI. Numb. 8 and 9.

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