SECT. I. ON THE FORCE AND EFFECTS OF MUSIC.

AS the public inclination for Music seems every day advancing, it may not be amiss, at this time, to offer a few observations on that delightful art; such observations, I mean, as may be chiefly applicable to the present times; such as may tend to correct any errors that have arisen, either in the composition, or the practice of music.

[Page 2] If we view this art in its foundations [...] we shall find, that by the constitution o [...] man it is of mighty efficacy in working both on his imagination and his passions [...] The force of harmony, or melody alone [...] is wonderful on the imagination. A ful [...] chord struck, or a beautiful succession of single sounds produced, is no less ravishing to the ear, than just symmetry or exquisite colours to the eye.

The capacity of receiving pleasure from these musical sounds, is, in fact, a peculiar and internal sense; but of a much more refined nature than the external senses: for in the pleasures arising from our internal sense of harmony, there is no prior uneasiness necessary, in order to our tasting them in their full perfection; neither is the enjoyment of them attend­ed either with languor or disgust. It is their peculiar and essential property, to divest the soul of every unquiet passion, to pour in upon the mind a silent and serene joy, beyond the power of words to express, and to fix the heart in a [Page 3] rational, benevolent, and happy tran­quillity.

But, though this be the natural effect of melody or harmony on the imagination, when simply considered; yet when to these is added the force of Musical Ex­pression, the effect is greatly increased; for then they assume the power of excit­ing all the most agreeable passions of the soul. The force of sound in alarming the passions is prodigious. Thus, the noise of thunder, the shouts of war, the uproar of an enraged ocean, strike us with terror: so again, there are certain sounds natural to joy, others to grief or despondency, others to tenderness and love; and by hearing these, we naturally sympathize with those who either enjoy or suffer. Thus music, either by imitating these various sounds in due subordination to the laws of air and harmony, or by any other method of association, bring­ing the objects of our passions before us (especially when those objects are deter­mined, and made as it were visibly and [Page 4] intimately present to the imagination by the help of words) does naturally raise a variety of passions in the human breast, similar to the sounds which are expressed: and thus, by the musician's art, we are often carried into the fury of a battle or a tempest, we are by turns elated with joy, or sunk in pleasing sorrow, rouzed to courage, or quelled by grateful terrors, melted into pity, tenderness, and love, or transported to the regions of bliss, in an extacy of divine praise.

But beyond this, I think we may ven­ture to assert, that it is the peculiar quality of Music to raise the sociable and happy passions, and to subdue the contrary ones. I know it has been generally believed and affirmed, that its power extends alike to every affection of the mind. But I would offer it to the consideration of the public, whether this is not a general and fundamental error. I would appeal to any man, whether ever he found himself urged to acts of selfishness, cruelty, treachery, revenge, or malevolence, by [Page 5] the power of musical sounds? or if he ever found jealousy, suspicion, or ingra­titude engendered in his breast, either from HARMONY or DISCORD? I believe no in­stance of this nature can be alledged with truth. It must be owned, indeed, that the force of music may urge the passions to an excess, or it may fix them on false and improper objects, and may thus be pernicious in its effects: but still the passions which it raises, though they may be misled or excessive, are of the benevolent and social kind, and in their intent at least are disinterested and noble ^a.

[Page 6] As I take this to be the truth of the case, so it seems to me no difficult matter to assign a sufficient reason for it: we have already seen that it is the natural effect of air or harmony to throw the mind into a pleasurable state: and when it hath obtained this state, it will of course exert those powers, and be susceptible of those passions, which are the most natural and agreeable to it. Now these are alto­gether of the benevolent species; inas­much as we know that the contrary af­fections, such as anger, revenge, jea­lousy, and hatred, are always attended with anxiety and pain: whereas all the various modifications of love, whether human or divine, are but so many kinds of immediate happiness. From this view of things therefore it necessarily follows, that every species of musical sound must tend to dispel the malevolent passions, because they are painful; and nourish [Page 7] those which are benevolent, because they are pleasing.

The most general and striking instance of the power of Music, perhaps, that we know of, is that related of the Arcadians by POLYBIUS, in the fourth book of his history; which, as it expressly coincides with the subject in question, I shall ven­ture to give the reader entire.

This judicious historian, speaking of the cruelties exercised upon the Cynaethians by the Aetolians, and the little compassion that their neighbours had shewn them; after having described the calamities of this people, abhorred by all Greece, adds the following remarks:

[Page 14] Still farther to confirm what is here advanced on the power of Music in raising the social and nobler passions only, I wi [...] transcribe a passage from the celebrated Baron de MONTESQUIEU.

This learned and sensible writer, ani­madverting on the severe institutions of the Ancients in regard to manners, having referred to several authorities among the Greeks on this head, particularly to the relation of POLYBIUS above quoted, pro­ceeds thus.—

The fact the baron speaks of, seems to confirm what is here said on the power of Music: for we see that Music was ap­plied by the Greeks to awaken the nobler passions only, such as pity, lenity, ten­derness, and love. But should a state ap­ply Music to give a roughness of man­ners, or inspire the contrary passions of hard-heartedness, anger, and cruelty, it would certainly miss its aim; notwith­standing that the baron seems to suppose the contrary. For he hath not alledged any instance, or any kind of proof in support of his supposition. It is true, as he observes in the second paragraph, that the sound of drums or trumpets would have a different effect from the more [Page 18] melting tones of softer harmony: y [...] still, the passions raised by these marti [...] founds are of the social kind: they ma [...] excite courage and contempt of deat [...] but never hatred or cruelty.

SECT. II. ON THE ANALOGIES BETWEEN MUS [...] AND PAINTING.

FROM this short theory we shou [...] now proceed to offer a few observatio [...] relating to composition.

But as musical composition is know to very few besides the professors an [...] composers of Music themselves; and a [...] there are several resemblances, or analogies between this art and that of painting, which is an art much more obviou [...] in its principles, and therefore more generally known; it may not be amiss t [...] draw out some of the most striking o [...] these analogies; and by this means, i [...] [Page 19] some degree at least, give the common reader an idea of musical composition.

The chief analogies or resemblances that I have observed between these two noble arts are as follow:

1 st, They are both founded in geo­metry, and have proportion for their sub­ [...]ect. And though the undulations of air, which are the immediate cause of sound, be of so subtile a nature, as to escape our examination; yet the vibrations of mu­sical strings or chords, from whence these undulations proceed, are as capable of mensuration, as any of those visible ob­ [...]ects about which painting is conversant.

2 dly, As the excellence of a picture [...]epends on three circumstances, design, [...]olouring, and expression; so in Music, [...]he perfection of composition arises from melody, harmony, and expression. Me­ [...]ody, or air, is the work of invention, [...]nd therefore the foundation of the other [...]wo, and directly analagous to design in [...]ainting. Harmony gives beauty and [...]rength to the established melodies, in [Page 20] the same manner as colouring adds life to a just design. And, in both cases, the expression arises from a combination of the other two, and is no more than a strong and proper application of them to the intended subject ^d.

3 dly, As the proper mixture of ligh [...] and shade (called by the Italians Chiar [...] Oscuro) has a noble effect in painting, and is, indeed, essential to the compositio [...] of a good picture; so the judicious mixture [Page 21] of concords and discords is equally essential to a musical composition: as shades are necessary to relieve the eye, which is soon tired and disgusted with a level glare of light; so discords are ne­cessary to relieve the ear, which is other­wise immediately satiated with a continued and unvaried strain of harmony. We may add (for the sake of those who are in any degree acquainted with the theory of Music) that the preparations and re­solutions of discords, resemble the soft gradations from light to shade, or from shade to light, in Painting.

4 thly, As in Painting there are three various degrees of distances established, viz. the fore-ground, the intermediate part, and the off-skip; so in Music there are three different parts strictly similar to these, viz. the bass (or fore-ground), the tenor (or intermediate), and the treble (or off-skip). In consequence of this, a musical composition without its bass, is like a landscape without its fore­ground; without its tenor, it resembles [Page 22] a landscape deprived of its intermediate part; without its treble, it is analagous to a landscape deprived of its distance, or off-skip. We know how imperfect a picture is, when deprived of any of these parts; and hence we may form a judge­ment of those who determine on the ex­cellence of any musical composition, with­out seeing or hearing it in all its parts, and understanding their relation to each other.

5 thly, As in Painting, especially in the nobler branches of it, and particularly in history-painting, there is a principal figure, which is most remarkable and conspi­cuous, and to which all the other figures are referred and subordinate; so, in the greater kinds of musical composition, there is a principal or leading subject, or succession of notes, which ought to pre­vail, and be heard through the whole composition; and to which, both the air and harmony of the other parts ought to be in like manner referred and sub­ordinate.

[Page 23] 6 thly, So again, as in painting a groupe of figures, care is to be had, that there be no deficiency in it; but that a certain fulness or roundness be preserved, such as Titian beautifully compared to a bunch of grapes; so, in the nobler kinds of musi­cal composition, there are several inferior subjects, which depend on the principal: and here the several subjects (as in paint­ing the figures do) are, as it were, to sustain and support each other: and it is certain, that if any one of these be taken away from a skillful composition, there will be found a deficiency highly disa­greeable to an experienced ear. Yet this does not hinder but there may be perfect composition in two, three, four, or more parts, in the same manner as a groupe may be perfect, though consisting of a smaller or greater number of figures. In both cases, the painter or musician varies his disposition according to the number of parts, or figures, which he includes in his plan.

[Page 24] 7 thly, As in viewing a picture, you ought to be removed to a certain distance, called the point of sight, at which all its parts are seen in their just proportions; so, in a concert, there is a certain dis­tance, at which the sounds are melted in­to each other, and the various parts strike the ear in their proper strength and sym­metry. To stand close by a bassoon, or double-bass, when you hear a concert, is just as if you should plant your eye close to the fore-ground when you view a picture; or as if, in surveying a spacious edifice, you should place yourself at the foot of a pillar that supports it.

Lastly, The various styles in Painting—the grand—the terrible—the graceful—the tender—the passionate—the joyous—have all their respective analogies in Mu­sic.—And we may add, in consequence of this, that as the manner of handling differs in Painting, according as the sub­ject varies; so, in Music, there are various instruments suited to the different kinds of musical compositions, and particularly [Page 25] adapted to, and expressive of, its several varieties. Thus, as the rough handling is proper for battles, sieges, and whatever is great or terrible; and, on the contrary, the softer handling, and more finished touches, are expressive of love, tender­ness, or beauty: so, in Music, the trum­pet, horn, or kettle-drum, are most pro­perly employed on the first of these sub­jects, the lute or harp on the last. There is a short story in the TATLER ^e, which illustrates this analogy very prettily. Se­veral eminent painters are there represent­ed in picture as musicians, with those instruments in their hands which most aptly represent their respective manner in Painting.

SECT. I. ON THE TOO CLOSE ATTACHMENT TO AIR, AND NEGLECT OF HARMONY.

THESE observations being premi­sed, for the sake of those who are not particularly conversant in the theory of Music; let us now proceed to consider this art with regard to its composition.

We have already observed, that there are, properly speaking, but three circum­stances, on which the worth of any mu­sical composition can depend. These are melody, harmony, and expression. When these three are united in their full excel­lence, the composition is then perfect: if any of these are wanting or imperfect, the composition is proportionably defective. The chief endeavour, therefore, of the skillful composer, must be ‘"to unite all these various sources of beauty in every [Page 27] piece; and never so far regard or idolize any one of them, as to despise and omit the other two."’

Several examples will hereafter be gi­ven of considerable masters, who, through an excessive fondness for one of these, have sacrificed the rest, and have thus fal­len short of that perfection and variety, which a correct ear demands.

The first error we shall note is, where the harmony, and consequently the ex­pression, is neglected for the sake of air, or rather an extravagant modulation.

The present fashionable extreme of running all our music into one single part, to the utter neglect of all true harmony, is a defect much more essential than the neglect of modulation only; inasmuch as harmony is the very cement of all musi­cal composition.

As in the work of harmony chiefly, the various contrivances of a good compo­sition are laid out and distinguished, which, with a full and perfect execution in all the parts, produce those noble effects we [Page 28] often find in grand performances: so we may consider the improvement of air, as the business of invention and taste.

But, if we may judge from the gene­ral turn of our modern Music (I speak not of the English only), this due regard, as well to a natural succession of melodies, as to their harmonious accompanyments, seems generally neglected or forgotten. Hence that deluge of unbounded extra­vaganzi, which the unskillful call inven­tion, and which are merely calculated to shew an execution, without either pro­priety or grace.

In these vague and unmeaning pieces, we often find the bewildered composer, either struggling with the difficulties of an extraneous modulation, or tiring the most consummate patience with a tedious repetition of some jejune thought, ima­gining he can never do enough, till he has run through every key that can be crowd­ed into one movement; till, at length, all his force being exhausted, he drops into a dull close; where his languid piece seems [Page 29] rather to expire and yield its last, than conclude with a spirited and well-timed cadence.

These kinds of compositions are greatly defective also in point of harmony, and chiefly in the bass, which is often im­pertinently airy, or, at best, incapable of giving either spirit or fullness to the treble; in both cases the composer not allotting to the bass, the only part which it ought to bear in the whole construction, viz. the foundation of all the rest.

A musical composition, in this light, may not unaptly be compared to the elevation of a building, where it is easy to discern what are the proportions and ornaments suitable to each degree, or ascent, in the elevation: and where the most common observer would laugh at seeing their order inverted, and the heavy and plain Tuscan, crushing down the light and delicate Ionic.

Thus they strive, rather to surprize, than please the hearer: and, as it is easier to discern what is excellent in the per­formance, [Page 30] than composition of Music; so we may account, why many have been more industrious to improve and distin­guish themselves in the practice, than the study of this science.

To this silly vanity we may attribute that strange attachment to certain un­meaning compositions, which many of our fluent performers have professed; their chief ambition being to discover a swift, rather than a judicious or graceful hand. That performers of this taste have so much in their power, is, at once, the misfortune and disgrace of Music: for, whatever merit a composition may have in other respects, yet if, from a due re­gard to the construction of the harmony and fugues, all the parts be put upon a level, and, by that means, their supreme pride and pleasure of a tedious solo be not admitted, it is with them a sufficient rea­son of condemning the whole.

The generality of our musical virtuosi are too easily led by the opinions of such masters; and, where there is no real dis­cernment, [Page 31] prejudice and affectation will soon assume the place of reason. Thus, through the inordinate vanity of a few leading performers, a disproportionate fame hath been the lot of some very in­different composers, while others, with real merit, have been almost totally un­known.

It may be worth considering, from whence this false taste hath had its rise. And 1 st, it may, perhaps, be affirmed with truth, that the false taste, or rather the total want of taste, in those who hear, and who always assume to them­selves the privilege of judging, hath often produced this low species of Music: for it must be owned, that this kind of com­position is apt, above all others, at first hearing, to strike an unskillful ear; and hence the masters have often sacrificed their art to the gross judgement of an indelicate audience.

But 2 dly, It hath often had its rise from the composer's bestowing his la­bour and attention on some trifling and [Page 32] unfruitful subject, which can never allow of an easy and natural harmony to sup­port it. For, however pleasing it may seem in its air, yet if it is not capable of admitting also a pleasing accompanyment, it were much better laid aside, than car­ried into execution. On this account it is, that many fugues are unsufferably te­dious: their barren subjects affording no variety in themselves, are therefore often repeated entire; or transposed, or turned topsey-turvey, insomuch that little else is heard throughout the whole piece ^f.

[Page 33] 3 dly, Another source, and, perhaps, the most general, is that low idea of composition, wherein the subject, or air, is no sooner led off, than it is immediately deserted, for the sake of some strange un­expected flights, which have neither con­nection with each other, nor the least tendency to any design whatever. This kind of random work is admirably cal­culated for those who compose without abilities, or hear without discernment; and therefore we need not wonder, that so large a share of the Music that hath of late appeared, should fall under this deno­mination.

How different from the conduct of these superficial adventurers in Music, is that of the able and experienced com­poser; who, when he hath exerted his fancy on any favourite subject, will re­serve his sketch, till at his leisure, and when his judgement is free, he can again and again correct, diminish, or enlarge his plan; so that the whole may appear, [Page 34] though severly studied, easy and natural as if it flowed from his first attempt ^g.

Many extempore thoughts, thrown out in the fire and strength of imagina­tion, have stood this critical review, and filled the happy author with uncommon transport. It is then he gains fresh vi­gour, and renews his toil, to range and harmonize the various melodies of his piece ^h.

It may be proper now to mention, by way of example on this head, the most noted composers who have erred in the extreme of an unnatural modulation; leaving those of still inferior genius, to [Page 35] that oblivion to which they are deservedly destined.

Of the first and lowest class are, VI­VALDI, TESSARINI, ALBERTI, and LOC­CATELLI, whose compositions, being equal­ly defective in various harmony, and true invention, are only a fit amusement for children; nor indeed for these, if ever they are intended to be led to a just taste in Music.

Under the second class, and rising above these last mentioned in dignity, as they pay somewhat more of regard to the principles of harmony, may be ranked several of our modern composers for the Opera. Such are HASSE, PORPO­RA, TERRADELLAS, and LAMPUGNIANI. Though I must take the liberty to say, that besides their too little regard to the principles of true harmony, they are often defective in one sense, even with regard to air; I mean, by an endless re­petition of their subject, by wearing it to rags, and tiring the hearer's pa­tience.

[Page 36] Of the third and highest class of com­posers, who have run into this extreme of modulation, are VINCI, BONONCINI, AS­TORGO, and PERGOLESE. The frequent Delicacy of whose airs, is so striking, that we almost forget the defect of har­mony, under which they often labour. Their faults are lost amidst their excel­lencies; and the critic of taste is almost tempted to blame his own severity, in censuring compositions, in which he finds charms so powerful and commanding.

However, for the sake of truth, it must be added, that this taste, even in its most pardonable degree, ought to be dis­couraged, because it seems naturally to lead to the ruin of a noble art. We need only compare the present with past ages, and we shall see a like catastrophe in the art of painting. ‘"For (as an ingenious writer very justly remarks) while the masters in this fine art confined the pencil to the genuine forms of grace and greatness, and only superadded to these, the temperate embellishments of [Page 37] a chastised and modest colouring, the art grew towards its perfection: but no sooner was their attention turned from truth, simplicity, and design, than their credit declined with their art; and the experienced eye, which con­templates the old pictures with admira­tion, surveys the modern with indif­ference or contempt ⁱ."’ ^k

SECT. II. ON THE TOO CLOSE ATTACHMENT TO HARMONY, AND NEGLECT OF AIR.

HAVING noted the reigning defect of the modern composers, arising from their superficial use of modulation, to the utter neglect of all true harmony the next thing that offers itself, is the very reverse of this. I mean, the too severe attachment of the Ancients ^l to harmony, and the neglect of modula­tion. The old masters, in general, dis­cover a great depth of knowledge in the construction of their harmony. Their subjects are invented, and carried on with wonderful art; to which they often add a considerable energy and force of ex­pression: yet, we must own, that with regard to air or modulation, they are often defective. Our old cathedral mu­sic [Page 39] is a sufficient proof of this: here we generally find the more striking beauties of air or modulation, give way to a dry rule of counterpoint: many an elaborate piece, by this means, instead of being so­lemn, becomes formal; and while our thoughts, by a natural and pleasing me­lody, should be elevated to the proper objects of our devotion, we are only struck with an idea of some artificial contri­vances in the harmony.

Thus the old Music was often con­trived to discover the composer's art, as the modern is generally calculated to dis­play the performer's dexterity.

The learned contrapuntist may exercise his talent in many wonderful contri­vances, as in fugues and canons of various subjects and parts, &c. But, where the master is thus severely intent in shewing his art, he may, indeed, amuse the un­derstanding, and amaze the eye, but can never touch the heart, or delight the ear.

I have often thought that the state of Music, at different times, might, very [Page 40] appositely, be compared to the series of alterations in the art of building. We cannot, indeed, with the same certainty and precision, determine what may have been the perfection of Music, in its ori­ginal state, among the Ancients: yet, the short analogy which follows, may serve to evince, that both these arts have varied according to the taste of particular ages.

It is well known, that in old Greece and Rome architecture was in its highest perfection; and that, after their several empires were overthrown, these glorious monuments of their taste and genius were almost entirely destroyed. To these succeeded a strange mixture of the antique and barbarous Gusto, which has since been distinguished by the name of Gothic. In these latter ages this art has gradually returned to its former state; and the an­cient relish of the grand, the simple, and convenient is revived.

And thus we may distinguish the three great aeras of Music.

[Page 41] Amongst the Ancients, the true sim­plicity of melody, with, perhaps, some mixture of plain unperplexed harmony, seems to have been that magic spell, which so powerfully inchanted every hearer.

At the revival of this art in the time of Pope GREGORY, a new system, and new laws of harmony were invented, and afterwards enlarged by GUIDO ARE­TINO: but this served only to lead the plodding geniuses of those times (and since, their rigid followers) to incumber the art with a confusion of parts, which, like the numerous and trifling ornaments in the Gothic architecture, was productive of no other pleasure, than that of wonder­ing at the patience and minuteness of the artist, and which, like that too, by men of taste, hath long been exploded ^m.

At present our taste is greatly more diversified, more subjected to the genius [Page 42] and language of particular countries, and less confined by those rigorous laws; the least deviation from which, was formerly thought an unpardonable offence; as if those laws were intended to fix the boun­daries of genius, and prevent the ad­vancement of science.

But, as we have said, the art (though still fluctuating) has now gained much freedom and enlargement, from these minute and severe laws, and is returning nearer to its ancient simplicity. The most eminent composers of late years, have not shewn any great fondness for a multiplicity of parts, which rather de­stroy than assist the force and efficacy of Music: neither have they deprived the charms of melody of their peculiar pro­vince, by stunning the ear with an har­mony too intricate and multifarious. And, I believe, upon a general survey of the particular genius of different masters, we shall find, that those who have the least of nature in their compositions, have generally endeavoured to supply the [Page 43] want of it, by the severer application of art.

Yet, I would by no means be thought to include all the old masters in this censure: some of them have carried mu­sical composition to that height of excel­lence, that we need think it no disgrace to form our taste of counterpoint on the valuable plans they have left us. Num­bers of these indeed have fallen, and de­servedly, into oblivion; such, I mean, who had only the cold assistance of art, and were destitute of genius. But there are others of this class, who, although the early period in which they wrote, naturally exposed them to the defect here noted; yet the force of their genius, and the wonderful construction of their fugues and harmony, hath excited the admira­tion of all succeeding ages. And here we shall find, that the composers of this class will naturally fall into three different ranks, in the same manner as those we have already ventured to characterize in the preceding section.

[Page 44] Among these, PALESTINA, the first, not only in point of time ⁿ, but of ge­nius too, deserves the high title of father of harmony. And the style of our great old master TALLIS ^o, evidently shews he had studied the works of this great com­poser, who lived to see his own system of harmony take root, and flourish in many parts of Europe; but more especially in Italy, where he was immediately succeed­ed by several eminent masters, among whom, perhaps, ALLEGRI may be esteem­ed the chief; whose compositions, with those of PALESTINA, are still performed in the Pope's chapel, and other choirs abroad: in all these masters we see the same grand construction of parts, and a parallel defect of modulation.

After these we may rank CARISSIMI, STRADELLA ^p, and STEFFANI: authors [Page 45] of a much later date, indeed, and who lived also at different times: yet their works, though, in general, of the same character with those of PALESTINA, are not, perhaps, of so high a class in one respect, nor so low in another. I mean, that although their character is that of excellence in harmony and defect in air; yet they are not so excellent in the former, nor so defective in the latter, as the vene­rable PALESTINA.

From the time of these masters to the present, there has been a succession of [Page 46] many excellent composers, who seeing the defects of those who preceded them, in the too great neglect of air, have adorn­ed the noblest harmonies by a suitable modulation: yet still, so far retaining the style of the more ancient compositions, as to make the harmonic construction the leading character of their works; while the circumstance of modulation remains only as a secondary quality. Such are the chaste and faultless CORELLI; the bold and inventive SCARLATTI ^q; the sub­lime CALDARA; the graceful and spirited RAMEAU ^r.

[Page 47] To these we may justly add our illu­strious HANDEL; in whose manly style we often find the noblest harmonies; and these enlivened with such a variety of modulation, as could hardly have been expected from one who hath supplied the town with musical entertainments of every kind, for thirty years together ^s.

[Page 48] These seem to be the principal au­thors, worthy the attention of a musical enquirer, who have regarded the harmonic system and the construction of fugues as the principal object of their care; while at the same time, they have regarded the circumstance of modulation so far as to deserve a very high degree of praise on this account, though not the highest.

SECT. III. ON MUSICAL EXPRESSION, SO FAR AS IT RELATES TO THE COMPOSER.

SO much concerning the two branches of music, air and harmony: let us now consider the third circumstance, which is expression. This, as hath been already observed, ‘"arises from a combination of the other two; and is no other than a strong and proper application of them to the intended subject."’

From this definition it will plainly appear, that air and harmony are never to be deserted for the sake of expression: because expression is founded on them. And if we should attempt any thing in defiance of these, it would cease to be Musical Expression. Still less can the hor­rid dissonance of cat-calls deserve this appellation, though the expression or imitation be ever so strong and natural.

And, as dissonance and shocking sounds cannot be called Musical Expression; [Page 50] so neither do I think, can mere imitation of several other things be entitled to this name, which, however, among the generality of mankind, hath often ob­tained it. Thus the gradual rising or fall­ing of the notes in a long succession, is often used to denote ascent or descent; broken intervals, to denote an interrupted motion; a number of quick divisions, to describe swiftness or flying; sounds re­sembling laughter, to describe laughter; with a number of other contrivances of a parallel kind, which it is needless here to mention. Now all these I should chuse to style imitation, rather than expression; because it seems to me, that their ten­dency is rather to fix the hearer's atten­tion on the similitude between the sounds and the things which they describe, and thereby to excite a reflex act of the un­derstanding, than to affect the heart and raise the passions of the soul.

Here then we see a defect or impro­priety, similar to those which have been above observed to arise from a too parti­cular [Page 51] attachment either to the modulation or harmony. For as, in the first case, the master often attaches himself so strongly to the beauty of air or modulation, as to neglect the harmony; and in the second case, pursues his harmony or fugues so as to destroy the beauty of modulation; so in this third case, for the sake of a forced, and (if I may so speak) an un­meaning imitation, he neglects both air and harmony, on which alone true mu­sical expression can be founded.

This distinction seems more worthy our notice at present, because some very eminent composers have attached them­selves chiefly to the method here men­tioned; and seem to think they have ex­hausted all the depths of expression, by a dextrous imitation of the meaning of a few particular words, that occur in the hymns or songs which they set to music. Thus, were one of these gen­tlemen to express the following words of Milton,

It is highly probable, that upon the word divide, he would run a division of half a dozen bars; and on the subsequent part of the sentence, he would not think he had done the poet justice, or risen to that height of sublimity which he ought to express, till he had climbed up to the very top of his instrument, or at least as far as a human voice could follow him. And this would pass with a great part of mankind for musical expression; instead of that noble mixture of solemn airs and various harmony, which indeed elevates our thoughts, and gives that exquisite pleasure, which none but true lovers of harmony can feel.

Were it necessary, I might easily prove, upon general principles, that what I now advance concerning musical imita­tion is strictly just; both, because Music as an imitative art has very confined powers, and because, when it is an ally to [Page 53] poetry (which it ought always to be when it exerts its mimetic faculty) it obtains its end by raising correspondent affections in the soul with those which ought to result from the genius of the poem. But this has been already shewn, by a judicious writer ^t, with that precision and accuracy which distinguishes his writings. To his excellent treatise I shall, therefore, refer my reader, and content myself, in this place, with adding two or three practical observations by way of corollary to his theory.

1 st, As Music passing to the mind through the organ of the ear, can imi­tate only by ^u sounds and motions, it seems reasonable, that when sounds only are the objects of imitation, the composer ought to throw the mimetic part entirely amongst the accompanying instruments; because it is probable, that the imitation will be too powerful in the voice which ought to [Page 54] be engaged in expression alone; or, in other words, in raising correspondent af­fections with the part ^x. Indeed, in some cases, expression will coincide with imita­tion, and may then be admitted univer­sally: as in such chromatic strains as are mimetic of the grief and anguish of the human voice ^y. But to the imitation of sounds in the natural or inanimate world ^z, [Page 55] this, I believe, may be applied as a ge­neral rule.

2 dly, When Music imitates motions, the rythm, and cast of the air, will generally require, that both the vocal and instru­mental parts coincide in their imitation. But then, be it observed, that the com­poser ought always to be more cautious and reserved when he applies this faculty of Music to motion, than when he applies it to sound: and the reason is obvious; the intervals in Music are not so strictly similar to animate or inanimate motions, as its tones are to animate or inanimate sounds. Notes ascending or descending by large intervals, are not so like the stalk­ing of a Giant ^a, as a flow of even notes [Page 56] are to the murmuring of a stream ^b; and little jiggish slurrs are less like the nod [Page 57] of Alexander ^c, than certain shakes and [Page 58] trills are to the voice of the nightin­gale ^d.

3 dly, As Music can only imitate mo­tions and sounds, and the motions only imperfectly; it will follow, that musical imitation ought never to be employed in representing objects, of which motion or sound are not the principal constituents. Thus, to light, or lightning, we annex the property of celerity of motion; yet it will not follow from thence, that an ex­tremely swift progression of notes will raise the idea of either one or the other; be­cause, as we said, the imitation must be, in these cases, very partial ^e. Again, it is one property of frost to make persons shake and tremble; yet, a tremulous [Page 59] movement of semitones, will never give the true idea of frost: though, perhaps, they may of a trembling person.

4 thly, As the aim of Music is to af­fect the passions in a pleasing manner, and as it uses melody and harmony to obtain that end, its imitation must never be employed on ungraceful motions, or dis­agreeable sounds: because, in the one case, it must injure the melody of the air; and in the other, the harmony of the accom­panyment; and, in both cases, must lose its intent of affecting the passions plea­singly.

5 thly, As imitation is only so far of use in Music, as when it aids the expression; as it is only analogous to poetic imitation, when poetry imitates through mere natural media ^f, so it should only be employed in the same manner. To make the sound echo to the sense in descriptive lyric, and, perhaps, in the cooler parts of epic poe­try, is often a great beauty; but, should the tragic poet labour at shewing this art [Page 60] in his most distressful speeches; I suppose he would rather flatten than inspirit his drama: in like manner, the musical composer, who catches at every parti­cular ^gepithet or metaphor that the part affords him, to shew his imitative power, will never fail to hurt the true aim of his composition, and will always prove the more deficient in proportion as his au­thor is more pathetic or sublime.

What then is the composer, who would aim at true musical expression, to per­form? I answer, he is to blend such an happy mixture of air and harmony, as will affect us most strongly with the passions or affections which the poet intends to raise: and that, on this account, he is not principally to dwell on particular words in the way of imitation, but to compre­hend the poet's general drift or intention, and on this to form his airs and harmony, [Page 61] either by imitation (so far as imitation may be proper to this end) or by any other means. But this I must still add, that if he attempts to raise the passions by imitation, it must be such a temperate and chastised imitation as rather brings the object before the hearer, than such a one as induces him to form a com­parison between the object and the sound: for, in this last case, his attention will be turned entirely on the composer's art, which must effectually check the passion. The power of Music is, in this respect, parallel to the power of Eloquence: if it works at all, it must work in a secret and unsuspected manner. In either case, a pompous display of art will destroy its own intentions: on which account, one of the best general rules, perhaps, that can be given for musical expression, is that which gives rise to the pathetic in every other art, an unaffected strain of nature and simplicity ^h.

[Page 62] There is no doubt but many rules may be deduced, both from the compositions [Page 63] of the best masters, and from experience, in observing the effects which various sounds have upon the imagination and af­fections. And I don't know, whether the same propriety, in regard to the part of expression in poetry, may not as well be applied to musical expression; since there are discordant and harmonious in­flections of musical sounds when united, and various modes or keys (besides the various instruments themselves), which, [Page 64] like particular words, or sentences in writ­ing, are very expressive of the different passions, which are so powerfully excited by the numbers of poetry ⁱ.

Thus the sharp or flat key; slow or lively movements; the staccato; the soste­nute, [Page 65] or smooth-drawn bow; the striking diesis ^k, all the variety of intervals, from a semitone to a tenth, the various mixtures of harmonies, the preparation of discords, and their resolution into concords, the sweet succession of melo­dies; and several other circumstances be­sides these, do all tend to give that variety of expression which elevates the soul to joy or courage, melts it into tenderness or pity, fixes it in a rational serenity, or raises it to the raptures of devotion.

When we consider the fulness of harmony, and variety of air, which may be included in the art of composing fugues, we may pronounce this species of composition, of all others, the most noble [Page 66] and diffusive; and which, like history-painting, does not only contain the chief excellencies of all the other species, but is likewise capable of admitting many other beauties of a superior nature. But here, in the term fugue, I do not include alone, those confined compositions, which proceed by regular answers, according to the stated laws of modulation, but chiefly, such as admit of a variety of subjects, particularly for voices and instruments united; and which, with their imitations, reverses, and other relative passages, are conducted throughout the whole, in sub­ordination to their principal; and, as the lesser beauties or decorations in poetry are subservient to the fable of a tragedy, or heroic poem, so are these different, though kindred airs, in the same move­ment, in like manner, subservient to some one principal design; and productive of all the grandeur, beauty, and propriety, that can be expected from the most exten­sive plan in the whole range of musical composition.

[Page 67] By a diversity of harmonies, the chain and progression of melodies is also finely supported; and thence, a greater variety of expression will be found in the con­struction of full Music. In this case, the composer hath the advantage of throwing his tender and delicate passages into the solo, or those of a bolder ex­pression into the chorus; and as there are oftentimes a kind of neutral airs, if I may so call them, which, by the per­former's art, may be made expressive of very different passions; or, as the same words, by a change in their accent, con­vey a different sense; so this musical ex­pression may be varied in such a manner, that the same passage, which has been heard alone, if repeated, may also be form­ed into chorus; and è contra, the chorus into solo. In like manner may be dis­posed the forte and piano.

We may also here remark, that in ranging different movements, in the same concerto, or in other suites of different airs, the confined order of keeping, in [Page 68] the sequel of these, to one or two keys, at most, produces but an irksome mono­tony of sounds: for it is not sufficient, that different movements are of different species; their changes should also appear, as well in their keys, as in their air: and the composer of taste will shew his art in the arrangement of these different pieces, as well as in his variety of modula­tion, or other contrivances, in the same piece ^l.

[Page 69] And, as discords, when judiciously managed, give their succeeding concords a yet more pleasing harmony; in like man­ner some happy contrivance in changing the key of separate movements, whether from flat to sharp, or vice versa, will still, in a higher degree, afford relief and pleasure to the hearer: many alterations of this kind may surely be affected with­out the least disagreeable surprize; since we are not always delighted when the mo­dulation follows, as we naturally expect it, nor always shocked when that expecta­tion is disappointed.

Thus, by contrivances of this nature, we are charmed with an agreeable variety, [Page 70] and which, perhaps, equally to the most striking air, commands the admiration of many lovers of Music, who yet can no otherwise account for the preference they may give to a fine composition, than purely from the pleasure it affords them. In fine, it is this masterly taste and method of ranging, in beautiful order, the distinguished parts of a composition, which gives the highest delight to those who can enter into the real merits of this art:—a circumstance, the musical student would do well to consider, before he en­gages in any trial of his talent that way. But, as example is of much greater force than any rule or precept whatever; I would recommend to him, a constant perusal of the best compositions in score, where he will find all the information he can desire on this head ^m.

[Page 71] After all that has been, or can be said, the energy and grace of musical expression is of too delicate a nature to be fixed by words: it is a matter of taste, rather than of reasoning, and is, therefore, much better understood by ex­ample than by precept. It is in the works of the great masters, that we must look for the rules and full union of air, harmony, and expression. Would modern composers condescend to repair to these fountains of knowledge, the public ear would neither be offended nor misled by those shallow and unconnected composi­tions, which have of late so much abound­ed, especially those insipid efforts that are [Page 72] daily made to set to Music that flood of nonsense which is let in upon us since the commencement of our summer enter­tainments, and which, in the manner they are conducted, cannot possibly prove of any advantage to Music: trifling essays in poetry must depress, instead of raising, the genius of the composer; who vainly at­tempts, instead of giving aid to sense (Music's noble prerogative), to harmonize nonsense, and make dulness pleasing.

Thus, it fares with Music, as it fares with her sister Poetry; for it must be owned, that the compositions last men­tioned, are generally upon a level with the words they are set to: their fate too is generally the same; these insect pro­ductions seldom out-living the season that gives them birth.

It has been justly enough alledged ⁿ, with regard to the Italian operas, that there are also many improprieties in these, which offend even the most common ob­server; [Page 73] particularly that egregious absur­dity of repeating, and finishing many songs with the first part; when it often happens, after the passions of anger and revenge have been sufficiently expressed, that re­concilement and love are the subjects of the second, and, therefore, should conclude the performance. But, as if it were un­natural to leave the mind in this tranquil state, the performer, or actor, must re­lapse into all that tempest and fury with which he began, and leave his hearers in the midst of it.

I have just hinted this unaccountable conduct of the Italian composers, by way of contrast to a conduct as remark­ably ridiculous in our own; I mean, our manner of setting one single trifling air, repeated to many verses, and all of them, perhaps, expressive of very different sen­timents or affections; than which, a greater absurdity cannot possibly be ima­gined, in the construction of any musical composition whatsoever.

[Page 74] What may farther be observed in the composition of these little airs, is the ge­neral method of repeating the same thought in the Ritornello, which is heard in the song. By this means, the burthen of the tune, be it ever so common, must incessantly jingle in the ear, and produce nothing but some wretched alternations between the instrument and voice.

On the contrary, if the subject of the song was relieved by different passages in the instrumental part, but of a similar air with the vocal; this kind of variety might support the repetition of the whole, with somewhat more spirit.

Among the many excellent ballads which our language affords, I shall men­tion that of Black-ey'd Susan, wrote by Mr GAY; and propose it as a specimen, to shew by what methods a composer might handle this genus of the lyric poem: and which, indeed, is no other than to treat them, as the Italians have ge­nerally managed those little love-stories which are the subject of their serenatas: [Page 75] —a kind of musical production, ex­tremely elegant, and proper for this pur­pose. Therefore, I would recommend to our vocal composers, some such method of setting to music the best English songs, and which, in like manner, will admit of various airs and duetts, with their reci­tative, or musical narratives, properly in­terspersed, to relieve and embellish the whole.

Thus one good ballad may supply a fruitful genius with a variety of inci­dents, wherein he will have sufficient scope to display his imagination, and to shew a judgement and contrivance in adapting his several airs to the different subjects of the poetry. By this means, not only a genteel and consistent per­formance might be produced, but also fewer good masters would lavish their musical thoughts on subjects so far be­neath them: nor, on this account, would there be any dearth of those agreeable and familiar airs, which might properly be calculated for those entertainments, where [Page 76] the public ear should be always consulted; and of which I have so good an opinion, that, were this difference between a just or false taste but fairly submitted to its decision, I should not dispute, but the composition which was most natural and pleasing, would bid fairest for the general approbation.

Yet, so long as our composers prose­cute their studies without the least know­ledge of any works but such as are on a level with their own, they must never ex­pect to advance in the esteem of their judges. For, as the striking beauties in a fine composition, elevate and enliven the fancy; so is it depressed and vitiated by too great a familiarity with whatever is mean and trifling.

He, therefore, that is blessed with hap­py talents for this art, let him shun all the means of catching the common air, which so strangely infects and possesses too many composers; but, unless he has the virtue of the bee, who,

I fear, he must banish himself from almost every place of public resort, and fly, per­haps, to monasteries and cells, where the genuine charms of harmony may often, indeed, be found, for stores to grace his future productions.

Our church music is equally capable of improvements from the same sources of taste and knowledge. We seem, at present, almost to have forgot, that devo­tion is the original and proper end of it. Hence that ill-timed levity of air in our modern anthems, that foolish pride of execution in our voluntaries, which dis­gusts every rational hearer, and dissipates, instead of heightening, true devotion.

If our organist is a lover of poetry, without which, we may dispute his love for Music; or indeed, if he has any well­directed passions at all; he cannot but feel some elevation of mind, when he hears the psalm preceding his voluntary, pro­nounced [Page 78] in an awful and pathetic strain: it is then he must join his part, and with some solemn air, relieve, with religious chearfulness, the calm and well-disposed heart. Yet, if he feels not this divine energy in his own breast, it will prove but a fruitless attempt to raise it in that of others: nor can he hope to throw out those happy instantaneous thoughts, which sometimes far exceed the best-concerted compositions, and which the enraptured performer would often gladly secure to his future use and pleasure, did they not as fleetly escape as they arise. He should also be extremely cautious of imitating common songs or airs, in the subjects of this latter kind of performance; other­wise he will but too much expose religion to contempt and ridicule.

It may not derogate from our subject of church-music, just to mention the pre­sent method of singing the common psalm tunes in the parochial service, which are every where sung without the least regard to time or measure, by [Page 79] drawling out every note to an unlimited length. It is evident, that both the com­mon and proper tunes were originally in­tended to be sung in the alla-breve time, or the regular pointing of two, three, or four minims in a bar:—a kind of move­ment, which every ear, with the least practice, may easily attain: nor when they are sung in parts, should there be any more than three, i. e. one treble, tenor, and bass; as too complex an harmony would destroy their natural air. And, in this style, our psalm tunes are capable of all the solemnity that can be required from such plain and unadorned harmony ^o.

[Page 80] Whoever has heard the Protestant congregations abroad sing, in parts, their psalms or hymns, may recollect, with some pleasure, that part of their religious worship; and their exceeding us so far in a performance of this kind, is chiefly owing to the exact measure in which those tunes are sung, and not to their harmony: for the greatest part of our own, which were composed soon after the Re­formation, by those excellent masters we had at that time, would doubtless be found, as well in regard to their solemn air, as harmony, equal, if not superior, to any compositions of their kind. And we may further observe, that air is, in a higher degree, productive of both so­lemnity and chearfulness, than harmony: for there is a dignity and grace in the [Page 81] former, when invented by genius, which a masterly harmony may indeed assist, but can never produce.

However trifling it may appear to consider this species of Music, I cannot but own, that I have been uncommonly affected with hearing some thousands of voices hymning the Deity in a style of harmony adapted to that awful occasion. But sorry I am to observe, that the chief performer, in this kind of noble chorus, is too often so fond of his own conceits; that, with his absurd graces, and tedious and ill-connected interludes, he misleads or confounds his congregation, instead of being the rational guide and director of the whole.

It may be thought, perhaps, by thus depriving our organist of this public op­portunity of shewing his dexterity, both in his voluntary and psalm tune, that all performers indiscriminately might be ca­pable of doing the duty here required: but it will be found no such easy matter to strike out the true sublimity of style, [Page 82] which is proper to be heard, when the mind is in a devout state; or, when we would be greatly solemn, to avoid the heavy and spiritless manner, which, instead of calmly relieving and lifting up the heart, rather sinks it into a state of depri­vation.

We might soon arrive at a very dif­ferent style and manner, as well in our compositions as performance; did we but study the works of the best chapel­masters abroad, as CALDARA, LOTTI, GASPARINI, and many others, whose ex­cellent compositions ought surely to be better known, and rescued from the pos­session of those churlish virtuosi, whose unsociable delight is to engross to them­selves those performances, which, in jus­tice to their authors, as well as the world, they ought freely to communicate ^p.

[Page 83] We may clearly discern the effects of such a commerce as is here proposed, with the works of the greatest masters. The immortal works of CORELLI are in the hands of every one; and accordingly we find, that from him many of our best mo­dern composers have generally deduced their elements of harmony. Yet there remains something more to be done by our present professors: they ought to be [Page 84] as intimately conversant with those other great masters, who, since CORELLI's time, have added both taste and invention; and, by uniting these, have still come nearer to the perfection of the general-harmonic composition.

The numerous seminaries in Italy sel­dom fail of producing a succession of good masters: from these we might select such pieces as would greatly contribute to the real solemnity of the cathedral ser­vice. While others again, of a different kind, might be compiled and fitted for concertos, or other musical purposes; so that there would never be wanting a va­riety of examples and subjects, for the practice of all students in harmony what­ever: and, by an assiduous application to a greater and more comprehensive style than we have hitherto attempted, we should soon be able to acquire so true a taste, as would lay a sure foundation for the forming our own masters ^q.

[Page 85] If it should be asked, who are the pro­per persons to begin a reform in our church-music? It may be answered, the organists of cathedrals, who are, or ought to be, our Maestri di Capella, and by whom, under the influence and protection of their deans, much might be done to the advancement of their choirs: nor would they find any difficulty in accom­plishing this useful design, as there are many precedents to direct them, both from Dr. ALDRIDGE and others, who have introduced into their service the celebrated PALESTINA and CARISSIMI with great success. And if this method, when so little good Music was to be had, hath been [Page 86] found to advance the dignity and repu­tation of our cathedral service; how much more may be expected at this time, from the number and variety of those excellent compositions that have since ap­peared; and which may be easily procur­ed, and adapted to the purposes here men­tioned!

An improvement of this kind might be still more easily set on foot, were there any history of the lives and works of the best composers; together with an account of their several schools, and the characteristic taste, and manner of each:—a subject, though yet untouched, of such extensive use, that we may reasona­bly hope it will be the employment of some future writer.

Painting has long had an advantage of this kind; but whether it has profited by such advantage, may at present, per­haps, be disputed. However, I think, if both these arts are not now in the state of perfection which one might wish, it ought not to be attributed to the want of [Page 87] genii, but to the want of proper en­couragement, from able and generous pa­trons, which would excite them to more laudable pursuits; many professors in both the sciences having alike employed their talents in the lowest branches of their art, and turned their views rather to in­stant profit, than to future fame ^r.

[Page 88] Thus, and thus alone, can we hope to reach any tolerable degree of excel­lence in the nobler kinds of musical com­position. The works of the greatest masters are the only schools where we may see, and from whence we may draw, perfection. And here, that I may do justice to what I think the most distin­guished merit, I shall mention, as exam­ples of true musical expression, two great authors, the one admirable in vocal, the other in instrumental Music.

The first of these is BENEDETTO MARCELLO, whose inimitable freedom, [Page 89] depth, and comprehensive style, will ever remain the highest example to all com­posers for the church: for the service of which, he published at Venice, near thirty years ago, the first fifty psalms set to Music ^s. Here he has far excelled all the Moderns, and given us the truest idea of that noble simplicity which probably was the grand characteristic of the ancient Music. In this extensive and laborious undertaking, like the divine subject he works upon, he is generally either grand, beautiful, or pathetic; and so perfectly free from every thing that is low and common, that the judicious hearer is charmed with an endless variety of new [Page 90] and pleasing modulation; together with a design and expression so finely adapted, that the sense and harmony do every where coincide. In the last psalm, which is the fifty-first in our version, he seems to have collected all the powers of his vast genius, that he might surpass the won­ders he had done before.

I do not mean to affirm, that in this extensive work, every recitative, air, or chorus, is of equal excellence. A con­tinued elevation of this kind, no author ever came up to. Nay, if we consider that variety which in all arts is necessary to keep alive attention, we may, perhaps, affirm with truth, that inequality makes a part of the character of excellence: that something ought to be thrown into shades, in order to make the lights more striking. And, in this respect, MAR­CELLO is truly excellent: if ever he seems to fall, it is only to rise with more asto­nishing majesty and greatness ^t.

[Page 91] To this illustrious example in vocal, I shall add another, the greatest in instru­mental Music; I mean the admirable GE­MINIANI; whose elegance and spirit of composition ought to have been much more our pattern; and from whom the public taste might have received the highest improvement, had we thought proper to lay hold of those opportunities which his long residence in this kingdom has given us.

The public is greatly indebted to this gentleman, not only for his many excel­lent compositions, but for having as yet parted with none that are not extremely correct and fine. There is such a gen­teelness and delicacy in the turn of his musical phrase (if I may so call it), and such a natural connection in his expres­sive and sweet modulation throughout all his works, which are every where sup­ported [Page 92] with so perfect a harmony, that we can never too often hear, or too much admire them. There are no impertinent digressions, no tiresome, unnecessary re­petitions; but, from the beginning to the close of his movement, all is natural and pleasing. This it is properly to discourse in Music, when our attention is kept up from one passage to another, so as the ear and the mind may be equally delighted.

From an academy formed under such a genius, what a supreme excellence of taste might be expected ^u!

SECT. I. ON THE EXPRESSIVE PERFORMANCE OF MUSIC IN GENERAL.

BUT as the nature and effects of Musical Expression do likewise relate to the performer, and the different instru­ments [Page 94] which are employed in the practice of Music, so these in their turn may be also considered.

For, as Musical Expression in the com­poser, is succeeding in the attempt to ex­press some particular passion ^x; so in the performer, it is to do a composition justice, by playing it in a taste and stile so exactly [Page 95] 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 expres­sion: so, that performer is still more cul­pable, 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 com­mon ear, cannot long prevail over the na­tural love of harmony ^y.

[Page 96] Even the use of double stops on this instrument may, in my opinion, be con­sidered as one of the abuses of it; since, in the hands of the greatest masters, they only deaden the tone, spoil the expres­sion, and obstruct the execution. In a [Page 97] 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 com­positions only as are worthy of them, they would undoubtedly improve the public ear, and acquire to themselves a reputa­tion and character worth preserving ^z.

[Page 98] Let every composer, whether for the church, the theatre, or chamber, thorough­ly 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 them­selves: for, as vocal Music requires one kind of expression, and instrumental an­other; 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 [Page 99] this denomination; especially those move­ments 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 me­lancholy style. With both these instru­ments, 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 agree­ably 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 whe­ther [Page 100] this failure may be imputed to the deficiency of the instrument, or their at­tempting to exceed its natural expression, may, perhaps, be worth the composer's while to consider.

The bassoon should also have those gra­dual movements which naturally glide in their divisions, and have the easiest transi­tions 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 it ^a.

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 [Page 101] alike discarded in the figurate descant, or that part of composition where discords are concerned. In this species of har­mony I have known the French-horn in­troduced with amazing success; but it re­quires 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 in­strument whatever.

The organ and harpsichord, though alike in so many respects, that the same per­former may equally shew his skill and execution on both; yet are their respec­tive compositions and manner of per­formance widely different: the former expressing the grand or solemn stile, the [Page 102] latter, those lively or trickling movements which thrill in the ear.

Now, where any of the above instru­ments over-rule in concert, whether in the chorus, or solo; or are appointed to play such airs or movements as they can­not 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 or­gan: and as the skillful artist so contrives, that, when the full organ is heard, no mixtures, or furnitures, &c. shall predo­minate, but that the diapasons, with their octaves ^b, may unite and fill the whole; so we may rank the violins with their basses and double-basses, as the diapasons and [Page 103] 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 prodigi­ous variety of many other noble proper­ties 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 instru­ment, as with each other, and return every advantage they receive. And, as the finest instrumental Music may be con­sidered 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 per­fection 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 [Page 104] every rough and grating sound, and unite the variety of voices and other instru­ments, that complete this grand and so­lemn performance; he will, even in this ideal enjoyment of Music, with pleasure own and prefer their harmonious expres­sion.

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 in­strument, 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 ex­pecting ear: CARBONEL, with but a com­mon portion of those qualities so requisite to enforce an expression, by a natural and [Page 105] 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 vari­ous qualities united in their full perfec­tion, we must repair to the admired GIARDINI. The brilliancy and Fullness of his tone, the sweetness, spirit, and va­riety of his expression, his amazing rapi­dity of execution, and exuberance of fancy, joined with the most perfect ease and gracefulness in the performance, con­cur to set him at the head of his ^cpro­fession.

[Page 106] Thus, the judicious performer, by this exertion of his fort or master-style, may possibly give a pleasing tenderness or spi­rit, 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 de­stroy, 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 re­gard 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 de­signed to delight the imagination and af­fect the heart. But how infinitely short of this design, is the best-wrote poem, whether we hear it rehearsed with wild [Page 107] 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 composi­tion.

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 well­wrought allegro, or any other quick movement for the church, cannot, with propriety, be adapted to theatrical pur­poses; nor can the adagio of this latter kind, strictly speaking, be introduced in­to the former: I have known several ex­periments 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 expe­rienced [Page 108] ear, will be found too light and trivial, when they are performed in the church: and this, I may venture to as­sert, 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 occasion ^d.

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-mention­ed: for, the same terms which denote lively and gay, in the opera, or concert style, may be understood in the practice [Page 109] 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 per­former, 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 ne­cessity of leaving great latitude to the per­former; who, nevertheless, may be great­ly assisted therein, by his perception of the powers of expression.

In vocal Music he can never fail; be­cause, if the different passions which the poet intends to raise, are justly distinguish­ed and expressed by the composer's art; the sensible performer will feel this happy [Page 110] 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 men­ner, in which it ought to be performed: and unless we strictly attend to this di­stinction, 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, be­come the general standard, as well for the performance of masters, as for the in­struction of their pupils; the former, I believe, would not only find them capable of heightening the very best compositions, [Page 111] but the latter would also, with greater fa­cility, 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 harmo­nies 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, find­ing 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 per­formance; for, in this respect, he was also peculiarly happy in his various expres­sion, as well of the tender, the serene, the solemn, as of the joyous and rapid; and, with a ready and proper execution, al­ways entered into a true feeling of the spirit, or softness, suitable to each of these [Page 112] styles: and, notwithstanding the uncer­tain duration of this talent, a circum­stance 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 communi­cated to the musical world, as much of his superior taste and method of execu­tion, as could possibly be expected from such an undertaking.

SECT. II. ON THE EXPRESSIVE PERFORMANCES OF MUSIC IN PARTS.

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.

[Page 113] 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, 1 st, I would propose, exclusive of the four principal parts which must be always complete, that the chorus of other instruments should not exceed the num­ber 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 de­stroy the just contrast, which should al­ways 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 con­duct of our musical oeconomy, too ob­vious [Page 114] 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 instru­ments 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 con­certos, as they cannot be heard to any advantage without that NOBLE FOUNDA­TION 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 nei­ther be continued too long in use, nor employed but in such pieces as are ex­pressly adapted to them; so that in the general work of concertos, for violins, [Page 115] &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 passa­ges 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 ex­pression lay, there to exert it most; I should have but little pretence for my pre­sent attempt in the ensuing directions.

2 dly, 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 per­formance throughout the whole move­ment, and therefore chiefly necessary in the leading parts. But this rule is gene­rally 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 [Page 116] 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 com­poser, know, without destroying the air, where to fill the harmony; and, by boldly pointing the subject, keep it up with the greatest energy ^e.

3 dly, The same rule will serve for all the other instruments except the harpsi­chord; 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 [Page 117] notes be continued after the pause or ca­dence. During this interval of rest, he should also attend, with the utmost exact­ness, 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 suc­ceeding 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 observ­ed, 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 [Page 118] 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 eli­gible to the performer, who would rather enjoy the whole than be distinguished alone.

The use of the Acciaccatura ^f, 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 re­served for a masterly application in the [Page 119] accompanyment of a fine voice, or sin­gle instrument; and therefore, besides the difficulty of acquiring a competent skill in them, they are not required in the per­formance of full Music.

Under this article I shall beg leave to offer an observation on the harpsi­chord concerto; a species of composition but of late invention, and which, if pro­perly 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, [Page 120] wherein the harpsichord ^g is remarkably deficient ^h.

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 in­strument 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 [Page 121] in all the full parts the leading subject should be singly touched, and the per­former 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 through­out the whole chorus. Yet I cannot dismiss this article without once again observing, that the difficulties of render­ing 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.

4 thly, As in all concertos, overtures, &c. where the repieno parts are more im­mediately necessary, the composer ought to pursue some design in filling each chorus, and relieving them with passages [Page 122] 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 advant­age [Page 123] 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 hearer ⁱ: 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 princi­pal part, when all the rest yield it this preference, of being distinguished and heard alone ^k.

[Page 124] 5 thly, In the chorus, whether full in all the parts, or leading by fugues; the violini di concertino ^l should be pointed with spirit to each repieno; these also should be instantly struck, without suffer­ing the first note to slip, by which means they always lose their designed effect: an omission which many careless per­formers are guilty of, either through mis­counting of rests, or depending upon others; and thus render the whole per­formance ragged and unmeaning.

6 thly, When concertos are perform­ed with three or four instruments only, it may not be amiss to play the solo parts mezzo piano; and to know more accu­rately [Page 125] where to find them, the first and last note of every chorus should be dis­tinguished 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 expres­sion 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 sud­den [Page 126] 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 oppo­site effects: and this circumstance alone will greatly assist those who would play either with tenderness or spirit.

7 thly, 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 per­former, 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 expres­sed, in so careless and negligent a manner, [Page 127] as to produce little, if any, sensible dif­ference to the hearer! It is a common practice with those luke-warm performers, who imagine that diminishing the num­ber of instruments will answer the same end as softening the whole, to quit their part when they should rather be all at­tention 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 car­rying this noble contrast to its highest perfection.

8 thly, When the inner parts are in­tended as accompanyments only, great care should be had to touch them in such a manner, that they may never predomi­nate, but be always subservient to the principal performer, who also should ob­serve the same method, whenever his part [Page 128] becomes an accompanyment; which ge­nerally 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.

9 thly, In every part throughout the full chorus, all manner of graces, or di­minution 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 dis­appoint the expecting ear, of a just per­formance 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 [Page 129] instrument, forgetting that order, like silence under arms in the military disci­pline, should also be observed in the dis­cipline 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 some­thing in its defence and explanation ^m.

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 pro­ceed many discordant ricercate ⁿ, where [Page 130] 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 princi­pal; the former being rather more neces­sary to be thus distinguished, as every per­son 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 ac­count 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 se­cond or third subject, as they are gene­rally repeated, or at least so retouched in [Page 131] 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 sel­dom 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 ener­getic 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 per­former will be greatly assisted to compre­hend all the harmony and contrivances of the composer, and obtain an advantage and pleasure almost equal to that of play­ing from the score ^o.

[Page 132] By what has been said, it appears, that this mark will be of similar use in Music, [Page 133] to that of capitals, italicks, and other or­thographical 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 dis­advantages, 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 situa­tion, as that the success of his play de­pended 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 [Page 134] 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 situa­tion to prevent their first censure from being determinate and final.