Chapter 4

Sec. 17. Till a Singer pleases himself, it is certain he cannot please others. Therefore consider, if some Professors of no small Skill have not this Pleasure for want of sufficient Application, what must the Scholar do? Study,--and study again, and not be satisfied.

Sec. 18. I am almost of Opinion, that all Study and Endeavours to sing are infallibly vain, if not accompanied with some little Knowledge of Counterpoint. One, who knows how to compose, can account for what he does, and he, who has not the same Light, works in the Dark, not knowing how to sing without committing Errors. The most famous _Ancients_ know the intrinsick Value of this Precept from the Effects. And a good Scholar ought to imitate them, without considering whether this Lesson be according to the _Mode_ or not For though, in these Days, one now and then hears admirable Performances, proceeding from a natural Taste, yet they are all done by Chance; but where that Taste is wanting, if they are not execrable, at least they will be very bad: For Fortune not being always at their Command, they cannot be sure to agree, neither with Time nor Harmony. This Knowledge, although requisite, I would not however advise a Scholar to give himself up to an intense Application, it being certain, I should teach him the readiest way to lose his Voice, but I exhort him only to learn the principal Rules, that he may not be quite in the Dark.[54]

Sec. 19. To study much, and preserve a Voice in its full Beauty, are two Things almost incompatible; there is between them such a sort of Amity, as cannot last without being prejudicial to the one or the other. However, if one reflects, that Perfection in a Voice is a Gift of Nature, and in Art a painful Acquisition, it will indeed be allowed, that this latter excels in Merit, and more deserves our Praise.

Sec. 20. Whoever studies, let him look for what is most excellent, and let him look for it wherever it is, without troubling himself whether it be in the Stile of fifteen or twenty Years ago, or in that of these Days; for all Ages have their good and bad Productions. It is enough to find out the best, and profit by them.

Sec. 21. To my irreparable Misfortune, I am old; but were I young, I would imitate as much as possibly I could the _Cantabile_ of those who are branded with the opprobrious Name of _Ancients_; and the _Allegro_ of those who enjoy the delightful Appellation of _Moderns_. Though my Wish is vain as to myself, it will be of Use to a prudent Scholar, who is desirous to be expert in both Manners, which is the only way to arrive at Perfection; but if one was to chuse, I should freely, without Fear of being tax'd with Partiality, advise him to attach himself to the Taste of the first.[55]

Sec. 22. Each Manner of Singing hath a different Degree of Eminence; the Nervous and Strong is distinguished from the Puerile and Weak, as is the Noble from the Vulgar.

Sec. 23. A Student must not hope for Applause, if he has not an utter Abhorrence of Ignorance.

Sec. 24. Whoever does not aspire to the first Rank, begins already to give up the second, and by little and little will rest contented with the lowest.

Sec. 25. If, out of a particular Indulgence to the sex, so many female Singers have the Graces set down in Writing, one that studies to become a good Singer should not follow the Example; whoever accustoms himself to have Things put in his Mouth, will have no Invention, and becomes a Slave to his Memory.

Sec. 26. If the Scholar should have any Defects, of the Nose, the Throat, or of the Ear, let him never sing but when the Master is by, or somebody that understands the Profession, in order to correct him, otherwise he will get an ill Habit, past all Remedy.

Sec. 27. When he studies his Lesson at Home, let him sometimes sing before a Looking-glass, not to be enamoured with his own Person, but to avoid those convulsive Motions of the Body, or of the Face (for so I call the Grimaces of an affected Singer) which, when once they have took Footing, never leave him.

Sec. 28. The best Time for Study is with the rising of the Sun; but those, who are obliged to study, must employ all their Time which can be spared from their other necessary Affairs.

Sec. 29. After a long Exercise, and the Attainment of a true Intonation, of a _Messa di Voce_, of _Shakes_, of _Divisions_, and _Recitative_ well expressed, if the Scholar perceives that his Master cannot teach him all the Perfection of Execution required in the more refined Art of singing the Airs, or if he cannot always be by his Side, then will he begin to be sensible of the Need he has of that Study, in which the best Singer in the World is still a Learner, and must be his own Master. Supposing this Reflection just, I advise him for his first Insight, to read the following Chapter, in order thereby to reap greater Advantage from those that can sing the _Airs_, and teach to sing them.

CHAP. VII.

_Of_ Airs.

If whoever introduced the Custom of repeating the first Part of the _Air_ (which is called _Da Capo_) did it out of a Motive to show the Capacity of the Singer, in varying the Repetition, the Invention cannot be blam'd by Lovers of Musick; though in respect of the Words it is sometimes an Impropriety.[56]

Sec. 2. By the _Ancients_ beforementioned, _Airs_ were sung in three different Manners; for the Theatre, the Stile was lively and various; for the Chamber, delicate and finish'd; and for the Church, moving and grave. This Difference, to very many _Moderns_, is quite unknown.

Sec. 3. A Singer is under the greatest Obligation to the Study of the _Airs_; for by them he gains or loses his Reputation. To the acquiring this valuable, Art, a few verbal Lessons cannot suffice; nor would it be of any great Profit to the Scholar, to have a great Number of _Airs_, in which a Thousand of the most exquisite Passages of different Sorts were written down: For they would not serve for all Purposes, and there would always be wanting that Spirit which accompanies extempore Performances, and is preferable to all servile Imitations. All (I think) that can be said, is to recommend to him an attentive Observation of the Art, with which the best Singers regulate themselves to the Bass, whereby he will become acquainted with their Perfections, and improve by them. In order to make his Observations with the greater Exactness, let him follow the Example of a Friend of mine, who never went to an Opera without a Copy of all the Songs, and, observing the finest Graces, confin'd to the most exact Time of the Movement of the Bass, he made thereby a great Progress.[57]

Sec. 4. Among the Things worthy of Consideration, the first to be taken Notice of, is the Manner in which all _Airs_ divided into three Parts are to be sung. In the first they require nothing but the simplest Ornaments, of a good Taste and few, that the Composition may remain simple, plain, and pure; in the second they expect, that to this Purity some artful Graces[58] be added, by which the Judicious may hear, that the Ability of the Singer is greater; and, in, repeating the _Air_, he that does not vary it for the better, is no great Master.

Sec. 5. Let a Student therefore accustom himself to repeat them always differently, for, if I mistake not, one that abounds in Invention, though a moderate Singer, deserves much more Esteem, than a better who is barren of it; for this last pleases the Connoisseurs but for once, whereas the other, if he does not surprise by the Rareness of his Productions, will at least gratify your Attention with Variety.[59]

Sec. 6. The most celebrated among the _Ancients_ piqued themselves in varying every Night their Songs in the Opera's, not only the _Pathetick_, but also the _Allegro_. The Student, who is not well grounded, cannot undertake this important Task.

Sec. 7. Without varying the _Airs_, the Knowledge of the Singers could never be discovered; but from the Nature and Quality of the Variations, it will be easily discerned in two of the greatest Singers which is the best.

Sec. 8. Returning from this Digression to the abovementioned, repeating the first Part of the _Air_ with Variation, the Scholar will therein find out the Rules for Gracing, and introducing Beauties of his own Invention: These will teach him, that Time, Taste, and Skill, are sometimes of but small Advantage to one who is not ready at _extempore_ Embellishments; but they should not allow, that a Superfluity of them should prejudice the Composition, and confound the Ear.[60]

Sec. 9. Let a Scholar provide himself with a Variety of Graces and Embellishments, and then let him make use of them with Judgment; for if he observes, he will find that the most celebrated Singers never make a Parade of their Talent in a few Songs; well knowing, that if Singers expose to the Publick all they have in their Shops, they are near becoming Bankrupts.

Sec. 10. In the Study of _Airs_, as I have before said, one cannot take Pains enough; for, though certain Things of small Effect may be omitted, yet how can the Art be called perfect if the Finishing is wanted.

Sec. 11. In _Airs_ accompanied only a Bass, the Application of him who studies Graces is only subject to Time, and to the Bass; but in those, that are accompanied with more Instruments, the Singer must be also attentive to their Movement, in order to avoid the Errors committed by those who are ignorant of the Contrivance of such Accompaniments.

Sec. 12. To prevent several false Steps in singing the _Airs_, I would strongly inculcate to a Student, first, never to give over practising in private, till he is secure of committing no Error in Publick; and next, that at the first Rehearsal the _Airs_ be sung without any other Ornaments than those which are very natural; but with a strict Attention, to examine at the same time in his Mind, where the artificial ones may be brought in with Propriety in the second; and so from one Rehearsal to another, always varying for the better, he will by Degrees become a great Singer.

Sec. 13. The most necessary Study for singing _Airs_ in Perfection, and what is more difficult than any other, is to seek for what is easy and natural, as well as of beautiful Inventions. One who has the good Fortune to unite such two rare Talents, with an agreeable _putting forth_ of the Voice, is a very happy Singer.

Sec. 14. Let him, who studies under the Disadvantage of an ungrateful Genius, remember for his Comfort, that singing in Tune, Expression, _Messa di Voce_, the _Appoggiatura's_, _Shakes_, _Divisions_, and accompanying himself, are the principal Qualifications; and no such insuperable Difficulties, but what may be overcome. I know, they are not sufficient to enable one to sing in Perfection; and that it would be Weakness to content one's self with only singing tolerably well; but Embellishments must be called in to their aid, which seldom refuse the Call, and sometimes come unsought. Study will do the business.

Sec. 15. Let him avoid all those Abuses which have overspread and established themselves in the _Airs_, if he will preserve Musick in its Chastity.

Sec. 16. Not only a Scholar, but every Singer ought to forbear _Caricatura's_, or mimicking others, from the very bad Consequences that attend them. To make others laugh, hardly gains any one Esteem, but certainly gives Offence; for no-body likes to appear ridiculous or ignorant. This Mimicking arises for the most part from a concealed Ambition to shew their own Merit, at another's Expence; not without a Mixture of Envy and Spight. Examples shew us but too plainly the great Injury they are apt to do, and that it well deserves Reproof; for Mimickry has ruin'd more than one Singer.

Sec. 17. I cannot sufficiently recommend to a Student the exact keeping of Time; and if I repeat the same in more than one place, there is more than one Occasion that moves me to it; because, even among the Professors of the first Rank there are few, but what are almost insensibly deceived into an Irregularity, or hastening of Time, and often of both; which though in the Beginning is hardly perceptible, yet in the Progress of the _Air_ becomes more and more so, and at the last the Variation, and the Error is discovered.

Sec. 18. If I do not advise a Student to imitate several of the _Moderns_ in their Manner of singing _Airs_, it is from their Neglect of keeping Time, which ought to be inviolable, and not sacrificed to their beloved Passages and Divisions.

Sec. 19. The Presumption of some Singers is not to be borne with, who expect that an whole _Orchestre_ should stop in the midst of a well-regulated Movement, to wait for their ill-grounded Caprices, learned by Heart, carried from one Theatre to another, and perhaps stolen from some applauded female Singer, who had better Luck than Skill, and whose Errors were excused in regard to her Sex.----Softly, softly with your Criticism, says one; this, if you do not know it, is called Singing after the _Mode_----Singing after the _Mode_?----I say, you are mistaken. The stopping in the _Airs_ at every second and fourth, and on all the sevenths and sixths of the Bass, was a bad Practice of the ancient Masters, disapproved fifty Years ago by _Rivani_, called _Ciecolino_,[61] who with invincible Reasons shewed the proper Places for Embellishments, without begging Pauses. This Percept was approved by several eminent Persons, among whom was Signer _Pistochi_,[62] the most famous of our, and all preceding Times, who has made himself immortal, by shewing the way of introducing Graces without transgressing against Time. This Example alone, which is worth a Thousand (O my rever'd _Moderns_!) should be sufficient to undeceive you. But if this does not satisfy you, I will add, that _Sifacio_[63] with his mellifluous Voice embrac'd this Rule; that _Buzzolini_[64] of incomparable Judgment highly esteemed it: After them _Luigino_[65] with his soft and amorous Stile followed their Steps; likewise _Signora Boschi_[66] who, to the Glory of her Sex, has made it appear, that Women, who study, may instruct even Men of some Note. That _Signora Lotti_,[67] strictly keeping to the same Rules, with a penetrating Sweetness of Voice, gained the Hearts of all her Hearers. If Persons of this Rank, and others at present celebrated all over _Europe_, whom I forbear to name; if all these have not Authority enough to convince you, that you have no Right to alter the Time by making Pauses, consider at least, that by this Error in respect of Time, you often fall into a greater, which is, that the Voice remains unaccompanied, and deprived of Harmony; and thereby becomes flat and tiresome to the best Judges. You will perhaps say in Excuse, that few Auditors have this Discernment, and that there are Numbers of the others, who blindly applaud every thing that has an Appearance of Novelty. But whose fault is this? An Audience that applauds what is blameable, cannot justify your Faults by their Ignorance; it is your Part to set them right, and, laying aside your ill-grounded Practice, you should own, that the Liberties you take are against Reason, and an insult upon all those instrumental Performers that are waiting for you, who are upon a Level with you, and ought to be subservient only to the Time. In short, I would have you reflect, that the abovementioned Precept will always be of Advantage to you; for though under the neglecting of it, you have a Chance to gain Applause of the Ignorant only; by observing it, you will justly merit that of the Judicious, and the Applause will become universal.

Sec. 20. Besides the Errors in keeping Time, there are other Reasons, why a Student should not imitate the _modern_ Gentlemen in singing _Airs_, since it plainly appears that all their Application now is to divide and subdivide in such a Manner, that it is impossible to understand either Words, Thoughts, or Modulation, or to distinguish one _Air_ from another, they singing them all so much alike, that, in hearing of one, you hear a Thousand.----And must the _Mode_ triumph? It was thought, not many Years since, that in an Opera, one rumbling _Air_, full of Divisions was sufficient for the most gurgling Singer to spend his Fire[68]; but the Singers of the present Time are not of that Mind, but rather, as if they were not satisfied with transforming them all with a horrible Metamorphosis into so many Divisions, they, like Racers, run full Speed, with redoubled Violence to their final Cadences, to make Reparation for the Time they think they have lost during the Course of the _Air_. In the following Chapter, on the tormented and tortured Cadences, we shall shortly see the good Taste of the _Mode_; in the mean while I return to the Abuses and Defects in _Airs_.

Sec. 21. I cannot positively tell, who that _Modern_ Composer, or that ungrateful Singer was, that had the Heart to banish the delightful, soothing, _Pathetick_ from _Airs_, as if no longer worthy of their Commands, after having done them so long and pleasing Service. Whoever he was, it is certain, he has deprived the Profession of its most valuable Excellence. Ask all the Musicians in general, what their Thoughts are of the _Pathetick_, they all agree in the same Opinion, (a thing that seldom happens) and answer, that the _Pathetick_ is what is most delicious to the Ear, what most sweetly affects the Soul, and is the strongest Basis of Harmony. And must we be deprived of these Charms, without knowing the Reason why? Oh! I understand you: I ought not to ask the Masters, but the Audience, those capricious Protectors of the _Mode_, that cannot endure this; and herein lies my Mistake. Alas! the _Mode_ and the Multitude flow like Torrents, which, when at their Height, having spent their Violence, quickly disappear. The Mischief is in the Spring itself; the Fault is in the Singers. They praise the _Pathetick_, yet sing the _Allegro_. He must want common Sense that does not see through them. They know the first to be the most Excellent, but they lay it aside, knowing it to be the most difficult.

Sec. 22. In former times divers _Airs_ were heard in the Theatre in this delightful Manner, preceded and accompanied with harmonious and well-modulated Instruments, that ravished the Senses of those who comprehended the Contrivance and the Melody; and if sung by one of those five or six eminent Persons abovementioned, it was then impossible for a human Soul, not to melt into Tenderness and Tears from the violent Motion of the Affections. Oh! powerful Proof to confound the idoliz'd _Mode_! Are there in these Times any, who are moved with Tenderness, or Sorrow?----No, (say all the Auditors) no; for, the continual singing of the _Moderns_ in the _Allegro_ Stile, though when in Perfection That deserves Admiration, yet touches very slightly one that hath a delicate Ear. The Taste of the _Ancients_ was a Mixture of the _Lively_ and the _Cantabile_ the Variety of which could not fail giving Delight; but the _Moderns_ are so pre-possessed with Taste in _Mode_, that, rather than comply with the former, they are contented to lose the greatest Part of its Beauty. The Study of the _Pathetick_ was the Darling of the former; and Application to the most difficult Divisions is the only Drift of the latter. _Those_ perform'd with more Judgment; and _These_ execute with greater Boldness. But since I have presum'd to compare the most celebrated Singers in both Stiles, pardon me if I conclude with saying, that the _Moderns_ are arrived at the highest Degree of Perfection in singing to the _Ear_; and that the _Ancients_ are inimitable in singing to the _Heart_.

Sec. 23. However, it ought not to be denied, but that the best Singers of these times have in some Particulars refined the preceding Taste, with some Productions worthy to be imitated; and as an evident Mark of Esteem, we must publicly own, that if they were but a little more Friends to the _Pathetick_ and the _Expressive_, and a little less to the _Divisions_, they might boast of having brought the Art to the highest Degree of Perfection.