That the composer sometimes employed skilfully the contrast of pure chord sequence is seen in his setting of the "tag" of the play spoken by Lelio and beginning thus:
Interesting as this music is in itself, the temptation to enter upon a prolonged examination of the score must be resisted for the good reason that a more important matter demands our attention. It has often been stated that in the madrigal drama, when the musician wished a single personage to speak, that character sang his part in the madrigal while alone on the stage and the other parts were sung behind the scenes. This error has persistently clung to musical history, despite the fact that it was long ago exposed by European authors who ought to have commanded more consideration. The present writer is indebted to Romain Rolland for guidance in his examination into this matter.
Vecchi had an enthusiastic disciple in Adriano Banchieri, born at Bologna in 1567 and died in the same city in 1634. Although he was a pupil of Giuseppe Guami, organist of St. Mark's, himself an organist of St. Michele in Bologna, and a serious theoretician, he was none the less the author of several comedies and satires, which he wrote under the pseudonym of Camillo Scaligeri della Fratta. He states in the title page that his comedy, "Il Studio Dilettevole" (for three voices) produced in 1603, is after the manner of Vecchi's "Amfiparnaso." His "Saggezia Giovenile," produced somewhat later, is equipped with a preface containing full directions as the method of performing a madrigal drama. He says:
"Before the music begins one of the singers will read in a loud voice the title of the scene, the names of the personages and the argument.
"The place of the scene is a chamber of moderate size, as well closed as possible (for the quality of the sound). In an angle of the room are placed two pieces of carpet on the floor and a pleasing scene. Two chairs are placed, one at the right, the other at the left. Behind the scene are benches for the singers, which are turned toward the public and separated from one another by the breadth of a palm. Behind these is an orchestra of lutes, clavicembali, and other instruments, in tune with the voices. From above the scene falls a large curtain which shuts off the singers and instrumentalists; the rule of procedure will be according to the following order:
"The invisible singers read the music from their parts. They will be three at a time, or better, six, two sopranos, two tenors, one alto and one bass, singing or remaining silent according to the occasion, giving with spirit the lively words and with feeling the sentimental ones and pronouncing all with loud and intelligible voices according to the judgment of prudent singers.
"The actors alone on the scene, and reciting, should prepare their parts so as to know them by heart and in every detail of place and time follow the music with all care as to time. It will not be a bad idea to have a prompter to aid the singers, instrumentalists and reciters."
The words, carefully chosen by the writer, prove conclusively that the actors did not sing; they spoke. The only music was that which came from behind the curtain at the rear.