-- 6. The Theatrical leaves it not in our Election to make Use of this Art, lest we offend in the Narrative, which ought to be natural, unless in a _Soliloquy_, where it may be in the Stile of Chamber-Musick.

-- 7. The third abstains from great part of the Solemnity of the first, and contents itself with more of the second.

-- 8. The Defects and unsufferable Abuses which are heard in _Recitatives_, and not known to those who commit them, are innumerable.

I will take Notice of several Theatrical ones, that the Master may correct them.

-- 9. There are some who sing _Recitative_ on the Stage like That of the Church or Chamber; some in a perpetual Chanting, which is insufferable; some over-do it and make it a Barking; some whisper it, and some sing it confusedly; some force out the last Syllable, and some sink it; some sing it bl.u.s.t'ring, and some as if they were thinking of something else; some in a languishing Manner; others in a Hurry; some sing it through the Teeth, and others with Affectation; some do not p.r.o.nounce the Words, and others do not express them; some sing as if laughing, and some crying; some speak it, and some hiss it; some hallow, bellow, and sing it out of Tune; and, together with their Offences against Nature, are guilty of the greatest Fault, in thinking themselves above Correction.

-- 10. The _modern_ Masters run over with Negligence their Instructions in all Sorts of _Recitatives_, because in these Days the Study of Expression is looked upon as unnecessary, or despised as _ancient_: And yet they must needs see every Day, that besides the indispensable Necessity of knowing how to sing them, These even teach how to act. If they will not believe it, let them observe, without flattering themselves, if among their Pupils they can show an Actor of equal Merit with _Cortona_ in the Tender;[48] of Baron _Balarini_ in the Imperious; or other famous Actors that at present appear, tho' I name them not; having determined in these Observations, not to mention any that are living, in whatsoever Degree of Perfection they be, though I esteem them as they deserve.

-- 11. A Master, that disregards _Recitative_, probably does not understand the Words, and then, how can he ever instruct a Scholar in Expression, which is the Soul of vocal Performance, and without which it is impossible to sing well? Poor _Gentlemen Masters_ who direct and instruct Beginners, without reflecting on the utter Destruction you bring on the Science, in undermining the princ.i.p.al Foundations of it! If you know not that the _Recitatives_, especially in the vulgar or known Language, require those Instructions relative to the Force of the Words, I would advise you to renounce the Name, and Office of _Masters_, to those who can maintain them; your Scholars will otherwise be made a Sacrifice to Ignorance, and not knowing how to distinguish the Lively from the Pathetick, or the Vehement from the Tender, it will be no wonder if you see them stupid on the Stage, and senseless in a Chamber.

To speak my Mind freely, yours and their Faults are unpardonable; it is insufferable to be any longer tormented in the Theatres with _Recitatives_, sung in the Stile of a Choir of _Capuchin_ Friars.

-- 12. The reason, however, of not giving more expression to the _Recitative_, in the manner of those called _Antients_, does not always proceed from the Incapacity of the Master, or the Negligence of the Singer, but from the little Knowledge of the _modern_ Composers (we must except some of Merit) who set it in so unnatural a Taste, that it is not to be taught, acted or sung. In Justification of the Master and the Singer let Reason decide. To blame the Composer, the same Reason forbids me entering into a Matter too high for my low Understanding, and wisely bids me consider the little Insight I can boast of, barely sufficient for a Singer, or to write plain Counterpoint. But when I consider I have undertaken in these Observations, to procure diverse Advantages to vocal Performers, should I not speak of a Composition, a Subject so necessary, I should be guilty of a double Fault. My Doubts in this Perplexity are resolved by the Reflection, that _Recitatives_ have no Relation to Counterpoint. If That be so, what Professor knows not, that many theatrical _Recitatives_ would be excellent if they were not confused one with another; if they could be learned by Heart; if they were not deficient in respect of adapting the Musick to the Words; if they did not frighten those who sing them, and hear them, with unnatural Skips; if they did not offend the Ear and Rules with the worst Modulations; if they did not disgust a good Taste with a perpetual Sameness; if, with their cruel Turns and Changes of Keys, they did not pierce one to the Heart; and, finally, if the Periods were not crippled by them who know neither Point nor Comma? I am astonished that such as these do not, for their Improvement, endeavour to imitate the _Recitatives_ of those Authors, who represent in them a lively image of Nature, by Sounds which of themselves express the Sense, as much as the very Words. But to what Purpose do I show this Concern about it? Can I expect that these Reasons, with all their Evidences, will be found good, when, even in regard to Musick, Reason itself is no more in the _Mode_?

Custom has great Power. She arbitrarily releases her Followers from the Observance of the true Rules, and obliges them to no other Study than that of the _Ritornello's_, and will not let them uselessly employ their precious Time in the Application to _Recitative_, which, according to her Precepts, are the work of the Pen, not of the Mind. If it be Negligence or Ignorance, I know not; but I know very well, that the Singers do not find their Account in it.

-- 13. Much more might still be[49] said on the Compositions of _Recitative_ in general, by reason of that tedious chanting that offends the Ear, with a thousand broken Cadences in every Opera, which Custom has established, though they are without Taste or Art. To reform them all, would be worse than the Disease; the introducing every time a final Cadence would be wrong: But if in these two Extremes a Remedy were necessary I should think, that among an hundred broken Cadences, ten of them, briefly terminated on Points that conclude a Period, would not be ill employed. The Learned, however, do not declare themselves upon it, and from their Silence I must hold myself condemned.

-- 14. I return to the Master, only to put him in Mind, that his Duty is to teach Musick; and if the Scholar, before he gets out of his Hands, does not sing readily and at Sight, the Innocent is injured without Remedy from the Guilty.

-- 15. If after these Instructions, the Master does really find himself capable of communicating to his Scholar Things of greater Moment, and what may concern his farther Progress, he ought immediately to initiate him in the Study of Church-Airs, in which he must lay aside all the theatrical effeminate Manner, and sing in a manly Stile; for which Purpose he will provide him with different natural and easy _Motets_[50]

grand and genteel, mix'd with the Lively and the Pathetick, adapted to the Ability he has discovered in him, and by frequent Lessons make him become perfect in them with Readiness and Spirit. At the same time he must be careful that the Words be well p.r.o.nounced, and perfectly understood; that the _Recitatives_ be expressed with Strength, and supported without Affectation; that in the Airs he be not wanting in Time, and in introducing some Graces of good Taste; and, above all, that the final Cadences of the _Motets_ be performed with Divisions distinct, swift, and in Tune. After this he will teach him that Manner, the Taste of _Cantata's_ requires, in order, by this Exercise, to discover the Difference between one Stile and another. If, after this, the Master is satisfied with his Scholar's Improvement, yet let him not think to make him sing in Publick, before he has the Opinion of such Persons, who know more of singing than of flattering; because, they not only will chuse such Compositions proper to do him Honour and Credit, but also will correct in him those Defects and Errors, which out of Oversight or Ignorance the Master had not perceived or corrected.

-- 16. If Masters did consider, that from our first appearing in the Face of the World, depends our acquiring Fame and Courage, they would not so blindly expose their Pupils to the Danger of falling at the first Step.

-- 17. But if the Master's Knowledge extends no farther than the foregoing Rules, then ought he in conscience to desist, and to recommend the Scholar to better Instructions. However, before the Scholar arrives at this, it will not be quite unnecessary to discourse with him in the following Chapters, and if his Age permits him not to understand me, those, who have the Care of him, may.

CHAP. VI.

_Observations for a Student._

Before entering on the extensive and difficult Study of the _Florid_, or _figured Song_, it is necessary to consult the Scholar's Genius; for if Inclination opposes, it is impossible to force it, and when That incites, the Scholar proceeds with Ease and Pleasure.

-- 2. Supposing, then, that the Scholar is earnestly desirous of becoming a Master in so agreable a Profession, and being fully instructed in these tiresome Rudiments, besides many others that may have slipt my weak Memory; after a strict Care of his Morals, he should give the rest of his Attention to the Study of singing in Perfection, that by this Means he may be so happy as to join the most n.o.ble Qualities of the Soul to the Excellencies of his Art.

-- 3. He that studies Singing must consider that Praise or Disgrace depends very much on his Voice which if he has a Mind to preserve he must abstain from all Manner of Disorders, and all violent Diversions.

-- 4. Let him be able to read perfectly, that he may not be put to Shame for so scandalous an Ignorance. Oh, how many are there, who had need to learn the Alphabet!

-- 5. In case the Master knows not how to correct the Faults in p.r.o.nunciation, let the Scholar endeavour to learn the best by some other Means; because the not being born[51] in _Tuscany_, will not excuse the Singer's Imperfection.

-- 6. Let him likewise very carefully endeavour to correct all other Faults that the Negligence of his Master may have pa.s.sed over.

-- 7. With the Study of Musick, let him learn also at least the Grammar, to understand the Words he is to sing in Churches, and to give the proper Force to the Expression in both Languages. I believe I may be so bold to say, that divers Professors do not even understand their own Tongue, much less the _Latin_.[52]

-- 8. Let him continually, by himself, use his Voice to a Velocity of Motion, if he thinks to have a Command over it, and that he may not go by the Name of a pathetick Singer.

-- 9. Let him not omit frequently to put forth, and to stop, the Voice, that it may always be at his Command.

-- 10. Let him repeat his Lesson at Home, till he knows it perfectly; and with a local Memory let him retain it, to save his Master the Trouble of Teaching, and himself of studying it over again.

-- 11. Singing requires so strict an Application, that one must study with the Mind, when one cannot with the Voice.

-- 12. The unwearied Study of Youth is sure to overcome all Obstacles that oppose, though Defects were suck'd in with our Mother's Milk. This Opinion of mine is subject to strong Objections; however, Experience will defend it, provided he corrects himself in time. But if he delays it, the older he grows the more his Faults will increase.

-- 13. Let him hear as much as he can the most celebrated Singers, and likewise the most excellent instrumental Performers; because, from the Attention in hearing them, one reaps more Advantage than from any Instruction whatsoever.

-- 14. Let him endeavour to copy from Both, that he may insensibly, by the Study of others, get a good Taste. This advice, though extremely useful to a Student, is notwithstanding infinitely prejudicial to a Singer, as I shall shew in its proper Place[53].

-- 15. Let him often sing the most agreable Compositions of the best Authors, and accustom the Ear to that which pleases. I'd have a Student know, that by the abovementioned Imitations, and by the Idea of good Compositions, the Taste in Time becomes Art, and Art Nature.

-- 16. Let him learn to accompany himself, if he is ambitious of singing well. The Harpsichord is a great Incitement to Study, and by it we continually improve in our Knowledge. The evident Advantage arising to the Singer from that lovely Instrument, makes it superfluous to say more on that Head. Moreover, it often happens to one who cannot play, that without the Help of another he cannot be heard, and is thereby to his Shame obliged to deny the Commands of those whom it would be to his Advantage to obey.

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

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

-- 19. To study much, and preserve a Voice in its full Beauty, are two Things almost incompatible; there is between them such a sort of Amity, as cannot last without being prejudicial to the one or the other.

However, if one reflects, that Perfection in a Voice is a Gift of Nature, and in Art a painful Acquisition, it will indeed be allowed, that this latter excels in Merit, and more deserves our Praise.

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

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

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

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

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

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

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

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

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

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

CHAP. VII.