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BUT as the nature and effects of Musical Expression do likewise relate to the performer, and the different instru|ments
which are employed in the practice of Music, so these in their turn may be also considered.
For, as Musical Expression in the com|poser, is succeeding in the attempt to ex|press some particular passionx 1.1; so in the performer, it is to do a composition justice, by playing it in a taste and stile so exactly
corresponding with the intention of the composer, as to preserve and illustrate all the beauties of his work.
Again, as the composer is culpable, who, for the sake of some low and trifling imitation, deserts the beauties of expres|sion: so, that performer is still more cul|pable, who is industrious to reduce a good instrument to the state of a bad one, by endeavouring to make it subservient to a still more trifling mimickry.
Such are all imitations of flageolets, horns, bagpipes, &c. on the violin; a kind of low device, calculated merely to amaze, and which, even with the com|mon ear, cannot long prevail over the na|tural love of harmonyy 1.2.
Even the use of double stops on this instrument may, in my opinion, be con|sidered as one of the abuses of it; since, in the hands of the greatest masters, they only deaden the tone, spoil the expres|sion, and obstruct the execution. In a
word, they baffle the performer's art, and bring down one good instrument to the state of two indifferent ones.
But surely it ought chiefly to be the composer's care, not to give the performer any opportunities whatever of disparaging his art: and the more he avoids all such low buffoonry, the more will this false taste be discouraged: for whatever may be alledged against the depravity of our taste in the musical science, it certainly can be fixed no where so properly, as on the masters themselves; since, were they to persist with any spirit or resolution in the exercise of their genius in such com|positions only as are worthy of them, they would undoubtedly improve the public ear, and acquire to themselves a reputa|tion and character worth preservingz 1.3.
Let every composer, whether for the church, the theatre, or chamber, thorough|ly consider the nature and compass of the voices, or instruments, that are employed in his work; and, by that means, he will the more easily avoid the common error of not sufficiently distinguishing what stile or manner is proper for execution, and what for expression.
He should also minutely observe the different qualities of the instruments them|selves: for, as vocal Music requires one kind of expression, and instrumental an|other; so different instruments have also a different expression peculiar to them.
Thus, the hautboy will best express the cantabile, or singing style, and may be used in all movements whatever under
this denomination; especially those move|ments which tend to the gay and chearful.
In compositions for the German flute, is required the same method of proceeding by conjoint degrees, or such other natural intervals, as, with the nature of its tone, will best express the languishing, or me|lancholy style. With both these instru|ments, the running into extreme keys, the use of the staccato, or distinct separation of notes; and all irregular leaps, or broken and uneven intervals, must be avoided; for which reason alone, these instruments ought never to be employed in the repieno parts of concertos for violins, but in such pieces only as are composed for them; and these, perhaps, would be most agree|ably introduced as principal instruments in some intervening movements in the concerto, which might not only give a pleasing variety, but shew their different expression to the greatest advantage.
In continued compositions, particularly for the German flute, our composers have been not a little unsuccessful; but whe|ther
this failure may be imputed to the deficiency of the instrument, or their at|tempting to exceed its natural expression, may, perhaps, be worth the composer's while to consider.
The bassoon should also have those gra|dual movements which naturally glide in their divisions, and have the easiest transi|tions from one key to another; and may be admitted as a principal in the solo, or rinforzo in the chorus, but never in the latter without a sufficient number of other basses to qualify and support ita 1.4.
The trumpet and French-horn, though equally limited in their scale, yet have pieces of very different styles adapted to them. The one, perhaps, to animate and inspire courage; the other to enliven and chear the spirits; yet are not both to be
alike discarded in the figurate descant, or that part of composition where discords are concerned. In this species of har|mony I have known the French-horn in|troduced with amazing success; but it re|quires a very able composer to manage it properly with such accompanyments. Either of these instruments, when fully accompanied, produce more wonderful effects than when heard alone, because in all martial compositions, their airs and expression are of so plain and unmixed a nature, that their harmony is more easily comprehended; and thence they strike the common ear with a greater degree of pleasure and admiration than any other in|strument whatever.
The organ and harpsichord, though alike in so many respects, that the same per|former may equally shew his skill and execution on both; yet are their respec|tive compositions and manner of per|formance widely different: the former expressing the grand or solemn stile, the
latter, those lively or trickling movements which thrill in the ear.
Now, where any of the above instru|ments over-rule in concert, whether in the chorus, or solo; or are appointed to play such airs or movements as they can|not easily express; we may then conclude, that the composer hath unfortunately set out upon a wrong principle, which capital error will destroy every good effect that might have been found in his work, had he duly considered the distinct limits and properties of each instrument.
In classing the different instruments in concert, we may consider them as the various stops which complete a good or|gan: and as the skillful artist so contrives, that, when the full organ is heard, no mixtures, or furnitures, &c. shall predo|minate, but that the diapasons, with their octavesb 1.5, may unite and fill the whole; so we may rank the violins with their basses and double-basses, as the diapasons and
principals of the concert: for in fact they may be said to contain the very strength and spirit of all harmony; and have in them, not only the expression of all the other instruments, but contain a prodigi|ous variety of many other noble proper|ties peculiar to themselves, of which all the rest are utterly destitute. It is their remarkable distinction, that no concert can be formed without them, as they unite and agree as well with every instru|ment, as with each other, and return every advantage they receive. And, as the finest instrumental Music may be con|sidered as an imitation of the vocal; so do these instruments, with their expressive tone and the minutest changes they are capable of in the progression of melody, shew their nearest approaches to the per|fection of the human voice.
Let the lover of Music call to mind the delightful effects they afford, when joined with the organ to a chorus of good voices, particularly in churches where the expansion is large and ample, to soften
every rough and grating sound, and unite the variety of voices and other instru|ments, that complete this grand and so|lemn performance; he will, even in this ideal enjoyment of Music, with pleasure own and prefer their harmonious expres|sion.
In fine, it is in those productions only which include the violin and its species, where an extensive genius may rove at large through all the various kinds of musical expression; and may give the best performers, though not in capricious and extravagant flights, every desirable opportunity of shewing their skill.
As a remarkable instance of the power of expression in a performance on this in|strument, I cannot omit the mention of three masters, within my own knowledge. KNERLER, with great execution and a fine tone, but unsusceptible of the powers of expression, always disappointed the ex|pecting ear: CARBONEL, with but a com|mon portion of those qualities so requisite to enforce an expression, by a natural and
instant feeling of the tender strokes in a fine composition, never failed to give all the pleasure that could be expected from them. But if we would hear these vari|ous qualities united in their full perfec|tion, we must repair to the admired GIARDINI. The brilliancy and Fullness of his tone, the sweetness, spirit, and va|riety of his expression, his amazing rapi|dity of execution, and exuberance of fancy, joined with the most perfect ease and gracefulness in the performance, con|cur to set him at the head of his c 1.6pro|fession.
Thus, the judicious performer, by this exertion of his fort or master-style, may possibly give a pleasing tenderness or spi|rit, even to an indifferent composition; while, on the other hand, a neglect, or ignorance, of the use of this art, however expert in other respects the performer may be, will disguise, if not intirely de|stroy, those distinguished beauties, which alone can raise the dignity and perfection of Music.
I dare say the reader will anticipate the similar case I am about to mention in re|gard to reading; as it will naturally occur to him, on this head, how commanding the power of expression may be found, from a different manner of reading the same author; especially in poetry, where a just and spirited emphasis is so highly essential to point out those interesting strokes, which are more peculiarly de|signed to delight the imagination and af|fect the heart. But how infinitely short of this design, is the best-wrote poem, whether we hear it rehearsed with wild
and vehement accents, or repeated in a cold and lifeless monotone! In either of these cases, our disgust, or weariness of attention, will be found in proportion to the beauties of the author so abused. And just thus it fares with an injudicious performance of a fine musical composi|tion.
The different species of Music, for the church, the theatre, or the chamber, are, or should be, distinguished by their peculiar expression. It may easily be perceived, that it is not the time or measure, so much as manner and expression, which stamps the real character of the piece. A well|wrought allegro, or any other quick movement for the church, cannot, with propriety, be adapted to theatrical pur|poses; nor can the adagio of this latter kind, strictly speaking, be introduced in|to the former: I have known several ex|periments of this nature attempted, but never with success. For, the same pieces which may justly enough be thought very solemn in the theatre, to an expe|rienced
ear, will be found too light and trivial, when they are performed in the church: and this, I may venture to as|sert, would be the case, though we had never heard them but in some anthem, or other divine performance: and were, therefore, not subject to the prejudice, which their being heard in an opera might occasiond 1.7.
It is also by this efficacy of musical expression, that a good ear doth ascertain the various terms which are generally made use of to direct the performer. For instance, the words andante, presto, allegro, &c. are differently applied in the different kinds of Music above-mention|ed: for, the same terms which denote lively and gay, in the opera, or concert style, may be understood in the practice
of church-music, as, chearful and serene, or, if the reader pleases, less lively and gay: wherefore, the allegro, &c. in this kind of composition, should always be performed somewhat slower than is usual in concertos or operas.
By this observation we may learn, that these words do not always convey what they import in their strict sense, but are to be considered as relative terms; and if they cannot fully answer the composer's intention of communicating, to every per|former, the nature of each particular style; yet, are they more proper than any other for that purpose: however, the composer will always be subject to a ne|cessity of leaving great latitude to the per|former; who, nevertheless, may be great|ly assisted therein, by his perception of the powers of expression.
In vocal Music he can never fail; be|cause, if the different passions which the poet intends to raise, are justly distinguish|ed and expressed by the composer's art; the sensible performer will feel this happy
union of both the arts, and thence join his own to perfect the whole.
With regard to the instrumental kind; the style and air of the movement must chiefly determine the exact time and men|ner, in which it ought to be performed: and unless we strictly attend to this di|stinction, the most excellent compositions may be greatly injured, especially when the composer is not present, either to lead, or give the air of his piece.
I might conclude this head with an observation or two on the several graces or ornaments of expression: but as these are already enumerated, and sufficiently explained in the rules of GEMINIANI, I need only refer to that work. However, we may here remark, that, were these elements of playing in taste, with their distinct characters and explanations, be|come the general standard, as well for the performance of masters, as for the in|struction of their pupils; the former, I believe, would not only find them capable of heightening the very best compositions,
but the latter would also, with greater fa|cility, arrive at perfection. But, instead of this, the generality of our masters, following each their own method, have preferred a more loose and florid manner of gracing, by which the finest harmo|nies are too often destroyed; and in their explanation of these graces, by so many different marks, and crowds of little notes, impossible to be expressed, have rather perplexed the learner, who, find|ing the same art so variously taught, hath, therefore, been often discouraged in the progress of his study.
And, as we have distinguished this master, as a pattern of excellence in his compositions, so we must allow him to have been equally excellent in his per|formance; for, in this respect, he was also peculiarly happy in his various expres|sion, as well of the tender, the serene, the solemn, as of the joyous and rapid; and, with a ready and proper execution, al|ways entered into a true feeling of the spirit, or softness, suitable to each of these
styles: and, notwithstanding the uncer|tain duration of this talent, a circum|stance common to every performer, he will ever live in those rules above referred to, and in his Art of playing on the Violin; in which useful work he has communi|cated to the musical world, as much of his superior taste and method of execu|tion, as could possibly be expected from such an undertaking.
HAVING said so much with regard to the expressive performance of Music in general, I shall now conclude with a few hints which may be of service in the performance of full Music: especially of such concertos as have pretty near an equal share of air and expression in all their parts.
The first material circumstance which ought to be considered in the performance of this kind of composition, is, the number and quality of those instruments that may produce the best effect.
And, 1st, I would propose, exclusive of the four principal parts which must be always complete, that the chorus of other instruments should not exceed the num|ber following, viz. six primo, and four secondo repienos; four repieno basses, and two double basses, and a harpsichord. A lesser number of instruments, near the same proportion, will also have a proper effect, and may answer the composer's intention; but more would probably de|stroy the just contrast, which should al|ways be kept up between the chorus and solo: for in this case the effect of two or three single instruments would be lost and over-powered by the succession of too grand a chorus; and to double the primo, and secondo concertino, or violoncello in the solo, would be an impropriety in the con|duct of our musical oeconomy, too ob|vious
to require any thing to be said on that head. It may be objected, perhaps, that the number of basses, in the above calculation, would be found too powerful for the violins: but as the latter instru|ments are in their tone so clear, sprightly, and piercing, and as they rather gain more force by this addition, they will always be heard: however, if it were possible, there should never be wanting a double bass; especially in a performance of full con|certos, as they cannot be heard to any advantage without that NOBLE FOUNDA|TION of their harmony.
As to wind-instruments, these are all so different in their tone, and in their progressions through the various keys, from those of the stringed kind, besides the irremediable disagreement of their rising in their pitch, while the others are probably falling, that they should nei|ther be continued too long in use, nor employed but in such pieces as are ex|pressly adapted to them; so that in the general work of concertos, for violins,
&c. they are almost always improper; unless we admit of the bassoon, which, if performed by an expert hand, in a soft and ready tone, and only in those passa|ges that are natural to it, may then be of singular use, and add fullness to the harmony.
Did every performer know the fort of his instrument, and where its best ex|pression lay, there to exert it most; I should have but little pretence for my pre|sent attempt in the ensuing directions.
2dly, In the four principal parts there ought to be four performers of almost equal mastery; as well in regard to time as execution; for however easy it may seem to acquire the former, yet nothing more shews a master than a steady per|formance throughout the whole move|ment, and therefore chiefly necessary in the leading parts. But this rule is gene|rally neglected by placing one of the worst hands to the tenor; which, though a part of little execution, yet requires so much meaning and expression, that the
performer should not only give a fine tone, (the peculiar quality of that instrument) but by swelling and singing of the notes, and entering into the spirit of the com|poser, know, without destroying the air, where to fill the harmony; and, by boldly pointing the subject, keep it up with the greatest energye 1.9.
3dly, The same rule will serve for all the other instruments except the harpsi|chord; and as this is only to be used in the chorus, the performer will have little else to regard but the striking just chords, keeping the time, and being careful that no jangling sound or scattering of the
notes be continued after the pause or ca|dence. During this interval of rest, he should also attend, with the utmost exact|ness, the leading off again the remaining part of the movement, that when all the parts are thus instantly struck, his own may be found to pervade and fill the whole: and if there are any rests suc|ceeding the pause, his attention to the leading instrument will direct him when these are to commence. The same care is necessary at the return of each double strain, when there are no intermediate notes to introduce the repeat. In fine, a profound silence must be always observ|ed, wherever the composer has intended a general respite, or pause in his work. I am the more particular in giving this caution to performers on the harpsichord, as they are the most liable to transgress in this way; because their instrument, lying so commodious to their fingers, is ever tempting them to run like wild-fire over the keys, and thus perpetually interrupt the performance. As compositions of
this nature are not calculated for the sake of any one instrument, but to give a grand effect by uniting many, each performer ought therefore to consider his particular province, and so far only to exert himself as may be consistent with the harmony and expression in his part. Nor let any lover of Music be concerned if there is but little for him to execute, since he will thence have some leisure for the pleasure of hearing: for this reason, the under parts in good compositions are more eli|gible to the performer, who would rather enjoy the whole than be distinguished alone.
The use of the Acciaccaturaf 1.10, or sweeping of the chords, and the dropping or sprinkling notes, are indeed some of the peculiar beauties of this instrument. But these graceful touches are only re|served for a masterly application in the
accompanyment of a fine voice, or sin|gle instrument; and therefore, besides the difficulty of acquiring a competent skill in them, they are not required in the per|formance of full Music.
Under this article I shall beg leave to offer an observation on the harpsi|chord concerto; a species of composition but of late invention, and which, if pro|perly studied, will admit of considerable improvements. Hitherto we seem to have mistaken the property of this instrument, by not considering what it can, or cannot express. Hence it is, perhaps, that our composers have run all their concertos into little else than tedious divisions; and the subject or ground-work of these, being introduced and repeated by a chorus of violins, produce always a bad effect: whereas the violin parts should be but few, and contrived rather as accompanyments than symphonies; by which means they may assist greatly in striking out some kind of expression,
wherein the harpsichordg 1.11 is remarkably deficienth 1.12.
The same method, perhaps, may be equally proper in concertos for the organ: which being frequently employed in other compositions, and at present so generally approved, it may not be amiss to consider it farther. For however capable this in|strument may be found to fill or soften all the rest, it will nevertheless over-power and destroy them, if the performer is not extremely cautious and tender in the use of it. I would therefore propose that the accompanyments in the thorough-bass should never be struck in chords with the right-hand, as upon the harpsichord, but
in all the full parts the leading subject should be singly touched, and the per|former proceed through the rest of the movement with the left-hand only. For this reason, no person whatever should attempt this instrument in concertos not expressly made for it, but from the score; and then, if he has judgement and discretion sufficient, he may enforce an expression, and assist every part through|out the whole chorus. Yet I cannot dismiss this article without once again observing, that the difficulties of render|ing the organ of that use in full concert which many expect from it, are so various and intricate, that we can never be too careful of the performer's abilities; who, if thoroughly skillful, will so manage his instrument, that it may always be heard, but seldom distinguished.
4thly, As in all concertos, overtures, &c. where the repieno parts are more im|mediately necessary, the composer ought to pursue some design in filling each chorus, and relieving them with passages
either proper to be heard alone, or so contrived as to give a good effect to the repeated chorus; so in performing these different passages, a different manner must be observed. Thus, when the solo is contrived for the sake of some peculiar expression, it should then be performed in a manner suitable to the genius or character of the piece; but always plain, or however with such graces only as may heighten the expression without varying the time; and which, therefore, require other qualities besides an execution to do them justice: for this elegance of taste, in the performance of the solo, consists not in those agile motions, or shiftings of the hand, which strike with surprize the common ear, but in the tender and delicate touches, which to such indeed are least perceptible, but to a fine ear productive of the highest delight. Let not the performer then by an ill-judged execution misapply this opportunity of shewing his skill in these remarkable places: for though it is not the advant|age
of instrumental compositions to be heightened in their expression by the help of words, yet there is generally, or ought to be, some idea of sense or passion, besides that of mere sound, conveyed to the heareri 1.13: on that account he should avoid all extravagant decorations, since every attempt of this kind must utterly destroy whatever passion the composer may have designed to express. And last of all let him consider, that a more than usual attention is expected to his princi|pal part, when all the rest yield it this preference, of being distinguished and heard alonek 1.14.
5thly, In the chorus, whether full in all the parts, or leading by fugues; the violini di concertinol 1.16 should be pointed with spirit to each repieno; these also should be instantly struck, without suffer|ing the first note to slip, by which means they always lose their designed effect: an omission which many careless per|formers are guilty of, either through mis|counting of rests, or depending upon others; and thus render the whole per|formance ragged and unmeaning.
6thly, When concertos are perform|ed with three or four instruments only, it may not be amiss to play the solo parts mezzo piano; and to know more accu|rately
where to find them, the first and last note of every chorus should be dis|tinguished thus (〈☐〉〈☐〉) and to prevent all mistakes of pointing the forte at a wrong place, that also ought to have the same mark: by this means the performer will be directed to give the first note of every chorus and forte its proper emphasis, and not suffer the latter to hand upon the ear, which is extremely disagreeable.
Above all, to heighten this variety in the performance, it is essential to mark the change of stiles that may often be found in the same movement, and chiefly the sostenute and staccato, for in these are contained the greatest powers of expres|sion on the violin.
Sounds continued, or succeeding each other without interruption, must be gently swelled and decreased, and this without drawling or languor. All cut sounds should be moderately struck, yet clear and distinct, that every shrill and sud|den
jerk with the bow may be entirely avoided.
Though few performers can feel the nice distinctions that lie between the beauties and errors in each of these stiles; yet many are sensible of their very oppo|site effects: and this circumstance alone will greatly assist those who would play either with tenderness or spirit.
7thly, As discords in Music are like shades in painting, so is the piano like the fainter parts or figures in a picture; both which do greatly assist in constituting and supporting an agreeable variety. But, as in the case of Music so much depends upon the taste and accuracy of the per|former, it is particularly necessary, that a strict regard be had to the piano and forte; for these, in the hands of a skillful composer, are generally so disposed as to afford a most pleasing relief; and, when justly executed, give great beauty and spirit to a composition. Yet how often do they pass unobserved, or, if at all expres|sed, in so careless and negligent a manner,
as to produce little, if any, sensible dif|ference to the hearer! It is a common practice with those luke-warm performers, who imagine that diminishing the num|ber of instruments will answer the same end as softening the whole, to quit their part when they should rather be all at|tention how to manage it with the utmost delicacy; transporting, as it were, like the swell-organ, the lessening sounds to a vast distance, and thence returning with redoubled strength and fullness to the forte: and as this delightful effect can only be found from a performance of many instruments together, we ought never to omit such opportunities of car|rying this noble contrast to its highest perfection.
8thly, When the inner parts are in|tended as accompanyments only, great care should be had to touch them in such a manner, that they may never predomi|nate, but be always subservient to the principal performer, who also should ob|serve the same method, whenever his part
becomes an accompanyment; which ge|nerally happens in well-wrought fugues and other full pieces, where the subject and air are almost equally distributed. When the attention of every performer is thus employed by listening to the other parts, without which he cannot do justice to his own, it is then we may expect to hear the proper effect of the whole.
9thly, In every part throughout the full chorus, all manner of graces, or di|minution of intervals, or transposition of eight notes higher, must be avoided; which some indiscreet performers are but too apt to make use of, merely from a desire of being distinguished, and that the audience may admire their execution. But these gentlemen ought to consider, that by such liberties they do not only dis|appoint the expecting ear, of a just per|formance of some favourite part, but often introduce and occasion disallowances in the harmony. From the same ruling passion we sometimes hear performers, the moment a piece is ended, run over their
instrument, forgetting that order, like silence under arms in the military disci|pline, should also be observed in the dis|cipline of Music.
Lastly, To point out in all the parts of full Music, their various subjects or fugues, I have ventured to introduce a new musical character, namely, this mostra (〈☐〉〈☐〉) or index: but as the particular use I would apply it to, may possibly be thought by some, a groundless innovation, it will therefore be necessary to say some|thing in its defence and explanationm 1.17.
In all compositions for instruments in parts, which are published in separate books, and seldom perused in score, most performers are frequently at a loss, to know the composer's design: hence pro|ceed many discordant ricercaten 1.18, where
only the full unmixed harmony should be heard. Another consequence has been, that, for want of some such character as the mostra above-mentioned, the very best contrivances in a good composition have often passed undistinguished and neglected. To remedy this defect, it seems necessary to point out in each part every leading and responsive fugue: for which purpose some particular mark should be placed over the first note of every accidental subject as well as princi|pal; the former being rather more neces|sary to be thus distinguished, as every per|son capable of performing in concert must know the principal subject wherever it occurs, and therefore will of course give that its proper expression.
But the accidental subjects are, on ac|count of their variety, much more difficult to be ascertained: sometimes indeed they are a part or accompanyment of the principal, and then may be styled a se|cond or third subject, as they are gene|rally repeated, or at least so retouched in
the progress of the fugue as to render them easily known. But yet there are oftentimes other subjects very different from the principal, and which being sel|dom or never repeated, are therefore still more necessary to be marked; for having always some peculiar relation to the other parts, it is absolutely necessary that they should be justly expressed; and this can only be done by a simple, plain, yet ener|getic execution: for wherever a subject is proposed, it can never with propriety admit of any variation. Expression alone being sufficient to give us every thing that can be desired from harmony.
Thus, by a due observance of some such character as the mostra, the per|former will be greatly assisted to compre|hend all the harmony and contrivances of the composer, and obtain an advantage and pleasure almost equal to that of play|ing from the scoreo 1.19.
By what has been said, it appears, that this mark will be of similar use in Music,
to that of capitals, italicks, and other or|thographical illustrations in writing; and therefore, perhaps, may make the chance which a musical author has for success, more nearly equal to that of a literary one; for it is certain that the former at present lies under so many additional dis|advantages, that whatever serves to lessen or remove any of them, should be thought an invention of no trivial utility.
For instance, how often does the fate of a concerto depend on the random execution of a sett of performers who have never previously considered the work, examined the connection of its parts, or studied the intention of the whole?
Was a dramatic author in such a situa|tion, as that the success of his play de|pended on a single recital, and that too by persons thus unprepared; I fancy he would scarce chuse to run the risk, though he had even Mr. GARRICK for one of his rehearsers. Yet what the poet never did, nor ever will venture, the
harmonist is of necessity compelled to, and that also frequently when he has not yet acquired a character to prejudice the audience in his favour, or is in any situa|tion to prevent their first censure from being determinate and final.
The word passion is here taken in the most ex|tensive sense, as it may be applied to every species of excellence in musical compositions; which, from the very design of the composer, demands an energetic execution.
The singing of a cuckoo, and the cackling of a hen, have, in fact, been often introduced into musical performances. VIVALDI, in his seasons, or con|certos, so called, has imitated the barking of a dog; besides many other strange contrivances; attempting even to describe, as well as imitate, the various changes of the elements.
If those composers, who take such pleasure in their musical imitations of the noise of animals, will shew their ingenuity in that way, I would advise them rather to follow the much more effectual me|thod of introducing the creatures themselves. And, by way of example, I shall give them the following story, as it is related by Mr. BAYLE, in his Critical Dictionary, under the article of LEWIS XI.
"The Abbot DE BAIGNE, a man of great wit, had in|vented many things relating to musical instru|ments; and, being in the service of the king, was once commanded by him to procure him harmo|nious sounds from the cries of hogs, imagining the thing was absolutely impossible. The Abbot was not in the least perplexed at such a command, but asked the king money to perform it; which was immediately delivered to him, and he effected the most surprizing and remarkable thing that was ever heard. He got together a large quantity of hogs, all of different ages, and put them into a tent or pavillion covered with velvet, before which tent there was a wooden table all painted; and he made an organical instrument with a cer|tain number of stops so contrived, that, when he hit upon those stops, it answered to some spikes, which, pricking the hogs that stood behind in a due order, made them cry in such a harmonious manner, that the king and all his attendants were highly delighted with it."
There is one circumstance, that might tend greatly to the repute and utility of Music; which is, that the professors themselves would cultivate a sin|cere and friendly commerce with each other, and cherish that benevolent temper, which their daily employ, one should think, ought naturally to in|spire. In truth, there is nothing enlarges the mind to every social and laudable purpose, so much as this delightful intercourse with harmony. They who 〈◊〉〈◊〉 not this divine effect, are strangers to its noblest •…•…ence: for whatever pretensions they may otherwise have to a relish or knowledge of its laws, without this criterion of the musical soul, all other pretended signatures of genius we may look upon as counterfeit.
See the sixth of GEMINIANI's Concertos, 〈…〉〈…〉, where there is one movement com|posed expressly for the bassoon; the agreeable effect of which, may be sufficient to evince how much better this method is of introducing wind-instru|ments, than admitting them throughout the con|certo.
Principals and flutes.
Since the appearance of this great performer, the Signiors PLA, PASSARINI, and CHABRAN, have also excited the admiration of the town: yet, 〈◊〉〈◊〉 all, it is but too general an observation (and I cannot help repeating it) that even the greatest per|formers, when left to themselves, cannot resist the vanity of amazing the multitude.
For this reason, the judicious hearer will always prefer their accompanyment in vocal performances, where every kind of unmeaning execution must give way to a more natural harmony; and their happier talents are employed, in assisting the voice, through 〈◊〉〈◊〉 the various beauties of true musical expression.
"By the ancients, airs were sung in three dif|ferent manners; for the theatre, the style was lively and various; for the chamber, delicate and finished; for the church, moving and grave. This difference, to very many moderns, is quite un|known* 1.8."
See TOSI on the florid song, p. 92.
As when we find a just and happy subserviency in all the under parts of a composition, we conclude the composer to be a man of experience and good sense: so also, those only are the performers or dis|cernment and good taste, who can feel, and, with delight, express those beauties undistinguished by the common ear.
It is their part also to discern, how little it avails, to attempt any service in the performance, where these attendants to the principal part, are either superfluous in themselves, or inharmonious in their effect; and where they destroy, instead of aiding the master-subject, or other appointed airs in the piece.
For an explanation ••f the Acciaccatura, see GEMINIANI's introduction to a good taste of Music, printed at the head of his second collection of Scots songs.
See RAMEAU's concertos for the harpsichord, published by Mr. WALSH.
Performers on the harpsichord, in concertos for that instrument, ought to take notice, that staccato divisions, on one note, should be played with differ|ent fingers, wherever it can be done with conve|nience; and not with one finger only, because, in this case, it is impossible to move the wrist (which the quick repetition of one note with one finger would require) with freedom enough to give these kind of passages their proper force.
"La Poesia, e la Musica, gl'intendenti ben sanno son due arti gemelle, e tra loro si analoghe, che a pensare e favellar sanamente non vi dovrebbe esser Poesia senza Musica, ne Musica senza Poesia." G. C. Becelli.
"It is supposed, by many, that a real good taste cannot possibly be acquired by any rules of art; it being a peculiar gift of nature, indulged only to those who have naturally a good ear: and, as most flatter themselves they have this perfection, hence it happens, that he who sings or plays, thinks of nothing so much as to make continually some favourite passages or graces, believing that by this means he shall be thought to be a good performer, not perceiving that playing in good taste doth not consist of frequent passages, but in expressing, with strength and delicacy, the inten|tion of the composer* 1.15."
These are the performers who execute all pieces with such a tasteless uniformity of manner, that they seem not to distinguish either what is good, or in|different, or even what is execrable.
Introduction to a good taste in Music, by GEMINIANI.
Principal parts.
See six concertos published by JOHNSON, where the use of this mark is applied: as this character is easily made by the pen, it may, with very little trouble, be added to the proper places, either in manuscript or other printed concertos that require it.
Extempore flourishings.
Though we may partly conjecture at the ex|cellence of the air and expression of particular passages in a composition, without a complete performance in all the parts; yet of the harmony and relation these may bear to each other, we cannot form a peremptory judgement: and more especially as we are often de|ceived in our opinions of full Music, from those faint and imperfect trials, to which, for want of proper hands, they are frequently exposed; where these are deficient, whether in number or abilities, I know not a more effectual test than a good harpsichord and performance from the score, where the eye will assist the ear through all the defects of this instrument, and give a better idea of the composer's design than any unsuccessful attempt in concert.
For this reason, were the printers of Music to publish the best concertos and sonatas in score, as are those of CORELLI; perhaps this very expedient, though it may seem hazardous at first, would con|tribute more to a general good taste and knowledge of Music, than any yet thought of; and the success that may reasonably be expected from so useful an undertaking, will, in the long-run, amply reward them for all their trouble and expence.
I have heard the first publisher of CORELLI's works in score, very frankly acknowledge, that the profits received from the sale of these books, were greater than could have been expected: and, as the public has had almost twenty years trial of the ad|vantages that have accrued from such an intimate acquaintance with this classical composer; it cannot, I think, be doubted but a like good effect might also attend a publication in score of GEMINIANI's concertos; and of other compositions in parts, which may have deservedly gained a reputation.