§ 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.