SECT. VII.
XXVI. To see whether the music of these times suffers the same shipwreck, which the before-named sciences underwent; let us examine, in what the music, which is now practised, differs from that of the antecedent age. The first and most remarkable distinction which occurs, is the diminution of the figures. The shortest points which were formerly known, were demi-semi quavers; and with them, it was imagined, they had given to the execution of the chant, and the instruments, as great a degree of velocity, as without doing violence to both, they were capable of attaining. This did not seem sufficient, and a little while afterwards, they invented dividing the demi-semi quavers into thirds, by which means, the movement became one part in three quicker than it was before. The extravagance of composers did not stop here, for they doubled the demi-semi quavers, and made a movement, that, for its rapidity, seems to have gone beyond the reach of imagination, which can scarce conceive, how it is possible, in the compass of a bar, to articulate or express sixty-four points. I don’t know whether before this age, any double demi-semi quavers ever appeared figured in any composition; except it was in the song of the Risuenor, which father Kircher, in the middle of the last century, caused to be printed, in the first book of his Musurgia Universalis; and I am even inclined to think, that solfa savours of the hyperbolic; for it is not easy to persuade me, that that bird, with all his agility and flexibility of throat, could articulate sixty-four points, in the space of raising and falling the hand, within the compass of regular time.
XXVII. I now say, this diminution of figures, instead of perfectioning music, entirely spoils and ruins it; for two reasons: the first is, that it will be very difficult to find a person, who either with the voice, or an instrument, is capable of executing points of such velocity. The before-cited father Kircher, says, that having made some compositions which were out of the common track, and of difficult execution, (though I believe they were not so difficult as those which are now the fashion) he could not find in all Rome, a singer capable of performing them. How then can you expect to find in every province, and in every cathedral, instrumental performers and singers, who, in exact time, and with the due intonation, are capable of executing these exceeding minute figures; and to this difficulty, we may likewise add, that of the many extravagant flights and jumps, which at present are the fashion also. To articulate such a solfa, requires a throat of prodigious volubility; and to express such music on an instrument, demands admirable agility, and dexterity of hand; and, therefore, such compositions are only fit for one or two very singular executionists, which may be found in this or that particular court; but they should not be printed for the use of the world at large; for the same singer, who, with a natural and easy solfa, would give pleasure to the hearers, would, by attempting these difficult passages, distract them; and from the same hand, by which a sonata, of easy execution, would sound delightsome and sweet, one of arduous difficulty would sound like the talking of gibberish.
XXIV. The second reason why this diminution of figures destroys music, is because it does not give space for the ear to perceive melody. As the delight the eye receives by a well-disposed variety of colours, could not be attained, if each was to pass the sight with so quick a motion, that it could scarce make a distinct impression on the organ, and it is the same with all sorts of visible objects; just so, if the points into which music is divided are of so short a duration, as to be incapable of acting distinctly on the ear, this organ, would not perceive harmony but confusion. Further, this second inconvenience, like the rest, is increased by the abuse, which, in their practice is committed by instrumental performers; who, although they are but slow or indifferent hands, generally make ostentation of playing with great velocity; and commonly strive to execute the sonata, with more rapidity than the composer intended, or than the character of the music requires. From whence it follows, that by a defect in the most essential part of the execution, which is precision and exactness, the music loses its true and proper genius; and the by-standers hear nothing but a confused clatter. Let every one then pursue the mode, which is suitable to his talents and abilities; for if he, who is heavy and slow of foot, endeavours to run as fast as him who is light and nimble, his whole career will be nothing but stumbles: and if he, who can only run, attempts to fly, he will soon fall, and dash himself to pieces.
XXIX. The second distinction between antient and modern music, consists in the frequency and excess of transitions in this last, from the diatonic to the chromatic and enharmonic stile; and in often changing the tones, by the introduction of sostenutos and B flats. This, as I observed before, has a good effect, if it is done with moderation and opportunely. But the Italians of this day, run to such an extravagant excess with these transitions, that they force harmony off its hinges. Whoever has any difficulty of believing this, let him, free from prejudice or partiality, consult his own ears, whenever he hears any of those sonatas or chants performed which abound much in accidentals.
XXX. The third distinction consists in the liberty which composers at present take, of mixing in their music, all sorts of modulations that occur to them; without confining themselves, either to imitation or theme. The pleasure perceived by this music, which I will take the liberty of calling loose and dishevelled, is vastly inferior to the enjoyment afforded by that beautiful regularity and contrivance, with which the masters of the last age, introduced a pleasing variety into a passage; and especially, when the music was calculated for four voices. Strangers are sensible of the high value of such compositions; nor are excellent ones of this species wanting in other countries; but composers in general, avoid writing in this stile, because the doing it well, demands more labour and study, than they are commonly disposed to take; so that if now and then they introduce, and begin pursuing a passage, they quickly leave it, and give a loose to their fancy, letting it run where it lifts. Strangers, who come to Spain, are for the most part mere executionists, and therefore not capable of forming this kind of music; because it requires more scientific knowledge, than they are generally masters of; and therefore, to conceal that they are deficient in point of ability, they endeavour to persuade people, the method of pursuing passages is out of fashion.