CHAP. VII.
Of Airs.
f whoever introduced the Custom of repeating the first Part of the Air (which is called Da 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 the Ancients beforementioned, Airs were 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 many Moderns, is quite unknown.
§ 3. A Singer is under the greatest Obligation to the Study of the Airs; 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 of Airs, 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 be said, 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 all Airs divided 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 the Air, 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 the Ancients piqued themselves in varying every Night their Songs in the Opera's, not only the Pathetick, but also the Allegro. The Student, who is not well grounded, cannot undertake this important Task.
§ 7. Without varying the Airs, 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 the Air with 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 at extempore Embellishments; 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 he observes, 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 of Airs, 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. In Airs accompanied 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 the Airs, I would strongly inculcate to a Student, first, never to give over practising in private, till he is secure of committing no Error in Publick; and next, that at the first Rehearsal the Airs be 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 singing Airs in 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 agreeable putting forth of 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, the Appoggiatura'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 the Airs, if he will preserve Musick in its Chastity.
§ 16. Not only a Scholar, but every Singer ought to forbear Caricatura'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 and Spight. 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 the Air becomes 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 the Moderns in their Manner of singing Airs, 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 whole Orchestre should 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 the Mode——Singing after the Mode?——I say, you are mistaken. The stopping in the Airs at 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 by Rivani, called Ciecolino,[61] who with invincible Reasons shewed the proper Places for Embellishments, without begging Pauses. This Percept was approved by several eminent Persons, among whom was Signer Pistochi,[62] the most famous of our, and all preceding 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'd Moderns!) should be sufficient to undeceive you. But if this does not satisfy you, I will add, that Sifacio[63] with his mellifluous Voice embrac'd this Rule; that Buzzolini[64] of incomparable Judgment highly esteemed it: After them Luigino[65] with his soft and amorous Stile followed their Steps; likewise Signora Boschi[66] who, to the Glory of her Sex, has made it appear, that Women, who study, may instruct even Men of some Note. That Signora 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 over Europe, 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 this Discernment, 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 the modern Gentlemen in singing Airs, since it 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 one Air from another, they singing them all so much alike, that, in hearing of one, you hear a Thousand.——And must the Mode triumph? It was thought, not many Years since, that in an Opera, one rumbling Air, 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 lost during the Course of the Air. In the following Chapter, on the tormented and tortured Cadences, we shall shortly see the good Taste of the Mode; in the mean while I return to the Abuses and Defects in Airs.
§ 21. I cannot positively tell, who that Modern Composer, or that ungrateful Singer was, that had the Heart to banish the delightful, soothing, Pathetick from Airs, 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 the Pathetick, they all agree in the same Opinion, (a thing that seldom happens) and answer, that the Pathetick is 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 the Masters, but the Audience, those capricious Protectors of the Mode, that cannot endure this; and herein lies my Mistake. Alas! the Mode and 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 the Pathetick, yet sing the Allegro. 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 divers Airs were 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 violent Motion of the Affections. Oh! powerful Proof to confound the idoliz'd Mode! Are there in these Times any, who are moved with Tenderness, or Sorrow?——No, (say all the Auditors) no; for, the continual singing of the Moderns in the Allegro Stile, though when in Perfection That deserves Admiration, yet touches very slightly one that hath a delicate Ear. The Taste of the Ancients was a Mixture of the Lively and the Cantabile the Variety of which could not fail giving Delight; but the Moderns are so pre-possessed with Taste in Mode, that, rather than comply with the former, they are contented to lose the greatest Part of its Beauty. The Study of the Pathetick was the Darling of the former; and Application to the most difficult Divisions is the only Drift of the latter. Those perform'd with more Judgment; and These execute 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 the Moderns are arrived at the highest Degree of Perfection in singing to the Ear; and that the Ancients are inimitable in singing to the Heart.
§ 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 the Pathetick and the Expressive, and a little less to the Divisions, 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 the Cantabile; in as much as the Airs at present in vogue go Whip and Spur with such violent Motions, as take away their Breath, far from giving them an Opportunity of shewing the Exquisiteness of their Taste. But, good God! since there are so many modern Composers, among whom are some of Genius equal, and perhaps greater than the best Ancients, for what Reason or Motive do they always exclude from their Compositions, the so-much-longed-for Adagio? Can its gentle Nature ever be guilty of a Crime? If it cannot gallop with the Airs that 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 grand Mode demands that he be quick, and ready to burst himself in his Lamentations, and weep with Liveliness. But what can one say? The Resentment of the modern Taste is not appeased with the Sacrifice of the Pathetick and the Adagio only, two inseparable Friends, but goes so far, as to prescribe those Airs, as Confederates, that have not the Sharp third. 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 of Pier. Simone[69], and of Stradella[70]; the second is of the best that now living[71]; and I leave others to judge whether they are Modern. But of your Stile, which is not quite established yet in Italy, and which has yet gained no Credit at all beyond the Alps, those that come after us will soon give their Opinion; for Modes last not long. But if the Profession is to continue, and end with the World, either you yourselves will see your Mistake, or your Successors will reform it. Wou'd you know how? By banishing the Abuses, and recalling the first, second, and third Mood[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, the Allegro will now and then be mixed with the Pathetick. The Airs will not always be drowned with the Indiscretion of the Instruments, that hide the artful Delicacy of the Piano, and the soft Voices, nay, even all Voices which will not bawl: They will no longer bear being teased with Unisons[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: The Soprano's and Contr'Alto's will no more sing the Airs in the Manner of the Bass, in Spight of a thousand Octaves: And, finally, their Airs will 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 the Mode pleases, 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 of seeing 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 the modern Stile 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 not succoured 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 both Stiles, 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 the Counterpoint? he answered immediately from the Instrument, (i.e., the Harpsichord)—Very well. I asked farther, in what Tone have you composed the Introduction of your Opera?——What Tone! what Tone! (breaking in upon me abruptly) with what musty Questions are you going to disturb my Brains? One may easily perceive from what School you come. The Moderns, if you do not know it, acknowledge no other Tone but one[77]; they laugh, with Reason, at the silly Opinion of those who imagine there are two, as well as at those who maintain, that their being divided into Authentick and Plagal, they become Eight, (and more if there were need) and prudently leave it to everybody's Pleasure to compose as they like best. The World in your Time was asleep, and let it not displease you, if our merry and brisk Manner has awakened it with a Gayety so pleasing to the Heart, that it incites one to dance. I would have you likewise be lively before you die, and, abandoning your uncouth Ideas, make it appear, that old Age can be pleased with the Productions of Youth; otherwise you will find, that you will be condemned by your own Words, that Ignorance hates all that is excellent. The polite Arts have advanced continually in Refinement, and if the rest were to give me the Lie, Musick would defend me Sword in Hand; for she cannot arrive at a higher Pitch. Awake therefore, and, if you are not quite out of your Senses, hearken to me; and you will acknowledge that I speak candidly to you; and for a Proof be it known to you——
§ 28. That our delicious Stile has been invented to hide with the fine Name of Modern the too difficult Rules of the Counterpoint, cannot be denied.
§ 29. That there is an inviolable Rule amongst us, to banish for ever the Pathetick, is very true; because we will have no Melancholy.
§ 30. But, that we should be told by the old Bashaws, that we strive who can produce most extravagant Absurdities never heard before, and that we brag to be the Inventors of them ourselves, are the malign Reflections of those who see us exalted. Let Envy burst. You see, that the general Esteem which we have acquired, gives it for us; and if a Musician is not of our Tribe, he will find no Patron or Admirer. But since we are now speaking in Confidence and with Sincerity, who can sing or compose well, without our Approbation? Let them have ever so much Merit (you know it) we do not want Means to ruin him; even a few Syllables will suffice: It is only saying, He is an Ancient.
§ 31. Tell me, I beseech you, who, without us, could have brought Musick to the Height of Happiness, with no greater Difficulty than taking from the Airs that tiresome Emulation of the first and second Violin, and of the Tenor? Is there any that ever durst usurp the Glory of it? We, we are those, who by our Ingenuity have raised her to this Degree of Sublimity, in taking also from her that noisy murmuring of the fundamental Basses, in such Manner,——(mark me well, and learn) that if in an Orchestre there were an hundred Violins, we are capable of composing in such a Manner, that all and every one shall play the very Air which the Voice sings. What say you to that? Can you have the Face to find Fault with us?
§ 32. Our most lovely Method, that obliges none of us to the painful Study of the Rules; which does not disquiet the Mind with the Anxiety of Speculation, nor delude us with the Study of reducing them into Practice; that does not prejudice the Health; that enchants the Ear à 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 great Fools to grow pale, and become paralytick in studying and finding out in the Scores, the Harmony, the Fugues, their Reverses, the Double Counterpoint, the Multiplication of Subjects, to contract them closer, to make Canons, and such other dry Stuff, that are no more in Mode, and (what is worse) are of little Esteem, and less Profit. What say you now to this, Master Critick? Have you comprehended me?——Yes, Sir. Well, what Answer do you make me?——None.
§ 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.
