Henry Lawes.
The Earl of Bridgwater is the Nobleman for whom Comus was produced.
Lawes was a real champion of English music and English musicians, and certainly understood what he was writing about. Although somewhat lengthy, I really cannot refrain from giving the Preface to one of his Books of Ayres, which goes into this subject. It is both amusing and improving, and deserves to be read by all.
To all Understanders or Lovers of Musick.
In my former you saw what temptations I had to publish my Compositions: and now I had not repeated that Error (if it prove to be one) but upon the same grounds, back'd with a promise I made to the World.
Though the civill Reception my last Book found were sufficient invitation, for which I gladly here offer my Thanks, especially to those worthy and grateful Strangers, who are far more candid and equall in their Censures than some new Judges of our own Country, who (in spite of their starrs) will sit and pronounce upon things they understand not.
But this is the Fate of all mankind, to be render'd less at home than abroad. For my part I can say (and there are will believe me) that if any man have low thoughts of mee, hee is of my opinion. Yet the way of Composition I chiefly possess (which is to shape Notes to the Words and Sense) is not hit by too many: and I have been often sad to observe some (otherwise able Musicians) guilty of such Lapses and mistakes this way. And possibly this is it makes many of us hear so ill abroad; which works a Beleefe amongst ourselves, that English words will not run well in Musick: This I have said, and must ever avow, is one of the Errors of this Generation.
I confess I could wish that some of our words could spare a Consonant (which must not be slur'd, for fear of removing those Landmarks in spelling which tell their Originall); but those are very few, and seldom occur; and when they do, are manageable enough by giving each syllable its particular humour; provided the breath of the sense be observed. And (I speak it freely once for all) that if English words which are fitted for song do not run smooth enough 'tis the fault either of the Composer or Singer.
Our English is so stor'd with plenty of Monosyllables (which, like small stones, fill up the chinks) that it hath great priviledge over divers of its neighbours, and in some particulars (with reverence be it spoken) above the very Latin, which Language we find overcharg'd with the letter (S) especially in (bus) and such hissing Terminations. But our new Criticks lodge not the fault in our words only; 'tis the Artist they tax as a man unspirited for forraign delights: which vanity so spreads, that those our productions they please to like must be born beyond the Alpes, and father'd upon Strangers. And this is so notorious, that not long since some young Gentlemen, who were not untravell'd, hearing some Songs I had set to Italian words (publickly sung by excellent voyces) concluded those songs were begotten in Italy, and said (too loud) "they would faine heare such songs to be made by an Englishman." Had they layd their sceane a little nearer home, there had been more colour; for, a short Ayre of mine (neare 20 years old) was lately reviv'd in our neighbour Nation, and publickly sung to words of their own as a new borne piece, without alteration of any one Note: Tis the Ayre to those words, "Old Poets Hippocrene admire etc." a sorry trifle (a man would think) to be rais'd from the dead after 18 years burial. But (to meet with this humour of lusting after Novelties) a friend of mine told some of that company, that a rare new Book was come from Italy, which taught the reason why an Eighth was the sweetest of all notes in Musick; because (said he) Jubal who was Founder of Musick was the eighth man from Adam; and this went down as current as my songs came from Italy. I beg your pardon for instancing such particulars. But there are knowing persons, who have been long bred in those worthily admired parts of Europe, who ascribe more to us than we to ourselves; and able Musicians returning from Travaill doe wonder to see us so thirsty after Forraigners.
For they can tell us (if we knew it not) that Musick is the same in England as in Italy; the Concords and Discords, the Passions, Spirits, Majesty and Humours, are all the same they are in England; their manner of composing is sufficiently known to us, their best Compositions being brought over hither by those who are able enough to choose.