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.
SECT. VIII.
XXXI. This is the species of music, with which the Italians, by the hand of their beloved master Duron, have regaled us; for he was the man, who first introduced foreign modes into the music of Spain. It is true, that since his time, these modes have been so refined, that if Duron could now rise from his grave, he would not know them; but still, the blame of all these novelties is imputable to him, for he was the first who opened the door for their introduction. Virgil’s description of the winds, may be applied to the airs of the Italian music.
Qua data porta ruunt, & terras turbine perflant.
With regard to the science of music, we see verified in the Spaniards, with respect to the Italians, that easy condescension in admitting novelties, which Pliny lamented in the Italians themselves, with respect to the Greeks: Mutatur quotidie ars interpolis, & ingeniorum Græciæ flatu impellimur.
XXXII. With all this, we are not without able composers in Spain, who have not totally fallen in with the fashion, or who jointly, with conforming to it, and judiciously combining the antient and modern together, have wrote some valuable and delectable pieces of grammatical music; in which, the sweetness and majesty of the old compositions has been preserved. Speaking of this, brings afresh to my memory, the savoury and luxuriant Literes; and I can’t help mentioning him a second time, for he is a composer truly original. A character of elevated sweetness, which is proper and natural to him, is resplendent in all his works, and which never forsakes him, even when he sets words to music, on amorous or profane subjects: so that even in songs of love, or comic gallantry, he preserves a kind of sublimity, which can only touch, or be felt by the superior part of the soul; this he manages with such address, that he awakes tenderness, and at the same time lulls lust to sleep. I would have this composer always employed in writing for sacred subjects: because the genius of his compositions, is better calculated to inspire celestial affections, than to foment earthly amours. If some of his music, is less impregnated with that tumultuous air and clatter, for which the works of many other authors are admired: it, for that very reason, is, in my opinion, better calculated for the use of churches; because music in them, demands a serious gravity, which should sweetly calm the mind; and not a puerile flightiness, which would excite to dance with castanets. Compositions of the last kind are very easy, and are therefore made by many; those of the first sort are difficult, and therefore but few attempt them.
SECT. IX.
XXXIII. What we have hitherto said of the irregularity and disorders of church music, does not extend to chants in the vulgar tongue only, but to psalms, masses, lamentations, and other parts of divine service, because the modes in fashion, have been introduced into them all. I have, in printed lamentations, seen the changes of the airs characterised in the same terms, which are used to describe them in comic music. Here you read grave, there ayroso, and in another place andante. What, can’t we admit of all the music being grave, even in a lamentation? And is it necessary to introduce light comedy airs into the representation of the most afflicting mysteries? If grief could find a place in heaven, Jeremiah would lament afresh, at seeing such music applied to his songs of mourning. Is it impossible, that in those complainings, where every letter is a sigh, corresponding with, and expressive of the various sensations, arising from the subjects of his lamentation; either the ruin of Jerusalem by the Chaldeans, the destruction of the world for sin, the affliction of the church militant for the persecution of its martyrs; and, to sum up the whole, the anguish and sufferings of our Redeemer, for the salvation of mankind. I say, can the feelings produced by such sad and distressing calamities, be expressed with airy tunes and recitatives? In the mournful songs of Jeremiah, which some expositors call the Alphabet of the Penitents, should we hear the sound of festive airs and serenades? With how much more reason than him, ought we to exclaim here in the language of Seneca, when he censured Ovid, for having introduced into the description of so tragical an event as that of Deucalion’s flood, a verse which savoured of gallantry: Non est res satis sobria lascivire devorato orbe terrarum. The Cythara of Nero, while Rome was burning, had not so harsh a sound, as the harmony of dances in the representation of such affecting mysteries.