All these Singers, though they had a Talent particular to themselves, they could, however, sing in several sorts of Stile; on the contrary, one finds few, but what attempt nothing that is out of their Way. A modern Singer of the good Stile, being asked, whether such and such Compositions would not please at present in Italy? No doubt, said he, they would, but where are the Singers that can sing them?
[68] Those tremendous Airs are called in Italian, un Aria di Bravura; which cannot perhaps be better translated into English, than a Hectoring Song.
[69] Pierre Simone Agostini lived about threescore Years ago. Several Cantata's of his Composition are extant, some of them very difficult, not from the Number of Divisions in the vocal Part, but from the Expression, and the surprising Incidents, and also the Execution of the Basses. He seems to be the first that put Basses with so much Vivacity; for Charissimi before him composed with more Simplicity, tho' he is reckoned to be one of the first, who enlivened his Musick in the Movements of his Basses. Of Pierre-Simone nothing more is known but that he loved his Bottle, and when he had run up a Bill in some favourite Place, he composed a Cantata, and sent it to a certain Cardinal, who never failed sending him a fixed Sum, with which he paid off his Score.
[70] Alessandro Stradella lived about Pier. Simone's Time, or very little after. He was a most excellent Composer, superior in all Respects to the foregoing, and endowed with distinguishing personal Qualifications. It is reported, that his favourite Instrument was the Harp, with which he sometimes accompanied his Voice, which was agreeable. To hear such a Composer play on the Harp, must have been what we can have no Notion of, by what we now hear. He ended his Life fatally, for he was murthered. The Fact is thus related. Being at Genoa, a Place where the Ladies are allowed to live with more Freedom than in any other Part of Italy, Stradella had the honour of being admitted into a noble Family, the Lady whereof was a great Lover of Musick. Her Brother, a wrong-headed Man, takes Umbrage at Stradella's frequent Visits there, and forbids him going upon his Peril, which Order Stradella obeys. The Lady's Husband not having seen Stradella at his House for some Days, reproaches him with it. Stradella, for his Excuse, tells him his Brother-in-Law's Order, which the Nobleman is angry with, and charges him to continue his Visits as formerly; he had been there scarce three or four Times, but one Evening going Home, attended by a Servant and a Lanthorn, four Ruffians rushed out, the Lady's Brother one among them, and with Stiletts or Daggers stabb'd him, and left him dead upon the Place. The people of Genoa all in a Rage fought for the Murtherer, who was forced to fly, his Quality not being able to protect him. In another Account of him, this Particularity is mentioned; that the Murderers pursued him to Rome, and on Enquiry learned, that an Oratorio of his Composition was to be performed that Evening; they went with an Intent to execute their Design, but were so moved with his Composition, that they rather chose to tell him his Danger, advised him to depart, and be upon his Guard. But, being pursued by others, he lost his Life. His Fate has been lamented by every Body, especially by those who knew his Merit, and none have thought him deserving so sad a Catastrophe.
[71] When Tosi writ this, the Composers in Vogue were Scarlatti, Bononcini, Gasparini, Mancini, &c. The last and modern Stile has pretty well spread itself all over Italy, and begins to have a great Tendency to the same beyond the Alps, as he calls it.
[72] The Moods, here spoken of, our Author has not well explained. The Foundation he goes upon are the eight Church Moods. But his Meaning and Complaint is, that commonly the Compositions are in C, or in A, with their Transpositions, and that the others are not used or known. But to particularise here what the Moods are, and how to be used, is impossible, for that Branch only would require a large Treatise by itself.
[73] The Airs, sung in Unison with the Instruments, were invented in the Venetian Opera's, to please the Barcaroles, who are their Watermen: and very often their Applause supports an Opera. The Roman School always distinguished itself, and required Compositions of Study and Care. How it is now at Rome is doubtful; but we do not hear that there are any Corelli's.
[74] Maestro di Capella, Master of the Chapel, the highest Title belonging to a Master of Musick. Even now the Singers in Italy give the Composers of Opera's the Title of Signior Maestro as a Mark of their Submission.
[75] Contrapunto, Counterpoint, or Note against Note, the first Rudiments of Composition.
[76] Furlana. A sort of Country Dance, or Cheshire-Round.