-- 9. I hold it also for certain, that no Professor of the first Rank, in any _Cadence_ whatsoever, can be allowed to make _Shakes_, or _Divisions_, on the last Syllables but one of these Words,--_Confonder_--_Amer_, &c. for they are Ornaments that do not suit on those Syllables which are short, but do well on the Antecedent.[84]

-- 10. Very many of the second Cla.s.s end the inferior _Cadences_ in the _French_ Manner without a _Shake_[85], either for want of Ability to make one, or from its being easy to copy them, or from their Desire of finding out something that may in Appearance support the name of _Modern_. But in Fact they are mistaken; for the _French_ do not leave out the _Shake_ on the inferior _Cadences_, except in the _Pathetick Airs_; and our _Italians_, who are used to over-do the _Mode_, exclude it every where, tho' in the _Allegro_ the _Shake_ is absolutely necessary. I know, that a good Singer may with Reason abstain from the _Shake_ in the _Cantabile_; however, it should be rarely; for if one of those _Cadences_ be tolerable without that pleasing Grace, it is absolutely impossible not to be tired at length, with a Number one after another that die suddenly.

-- 11. I find that all the _Moderns_ (let them be Friends or Foes to the _Shake_) in the inferior _Cadences_ beforementioned go with an _Appoggiatura_ to the final Note, on the penultimate Syllable of a Word; and this likewise is a Defect, it appearing to me, that on such Occasions the _Appoggiatura_ is not pleasing but on the last Syllable, after the Manner of the _Ancients_, or of those who know how to sing.[86]

--12. If, in the inferior _Cadences_, the best Singers of these Days think they are not in the wrong in making you hear the final Note before the Ba.s.s[87], they deceive themselves grossly; for it is a very great Error, hurts the Ear, and is against the Rules; and becomes doubly so, going (as they do) to the same Note with an _Appoggiatura_, the which either ascending or descending, if not after the Ba.s.s[88], is always very bad.

-- 13. And is it not worst of all, to torment the Hearers with a thousand _Cadences_ all in the same Manner? From whence proceeds this Sterility, since every Professor knows, that the surest way of gaining Esteem in Singing is a Variety in the Repet.i.tion?

-- 14. If among all the _Cadences_ in the _Airs_, the last allows a moderate Liberty to the Singer, to distinguish the end of them, the Abuse of it is insufferable. But it grows abomable, when the Singer persists with his tiresome Warbling, nauseating the Judicious, who suffer the more, because they know that the Composers leave generally in every _final Cadence_ some Note, sufficient to make a discreet Embellishment; without seeking for it out of Time, without Taste, without Art, and without Judgment.[89]

-- 15. I am still more surprised when I reflect, that the _modern_ Stile, after having exposed all the _Cadences_ of the theatrical _Airs_ to the Martyrdom of a perpetual Motion, will likewise have the Cruelty to condemn to the same Punishment not Those in the _Cantata's_ only, but also the _Cadences_ of their _Recitatives_. Do these Singers pretend, by their not distinguishing the Chamber-Musick from the immoderate _Gargling_ of the Stage, to expect the vulgar _E Viva's_ in the Cabinet of Princes?

-- 16. Let a sensible Student avoid this Example, and with this Example the Abuses, the Defects, and every other Thing that is mean and common, as well in the _Cadences_ as elsewhere.

-- 17. If, the inventing particular _Cadences_ without injuring the Time, has been one of the worthy Employments of the _Ancients_ (so call'd) let a Student revive the Use of it; endeavouring to imitate them in their Skill of somewhat antic.i.p.ating the Time; and remember, that Those, who understand the Art of Gracing, do not wait to admire the Beauty of it in a Silence of the Ba.s.s.

-- 18. Many and many other Errors are heard in the _Cadences_ that were _Antique_, and which are now become _Modern_; they were ridiculous then, and are so now; therefore considering, that to change the Stile is not always to improve it, I may fairly conclude, that what is bad is to be corrected by Study, and not by the _Mode_.

-- 19. Now let us for a while leave at Rest the Opinions of the aforesaid Ancients, and the supposed _Moderns_, to take notice what Improvement the Scholar has made, since he is desirous of being heard. Well then, let him attend, before we part with him, to Instructions of more Weight, that he may at least deserve the Name of a good Singer, though he may not arrive at that of an eminent one.

CHAP. IX.

_Observations for a Singer._[90]

Behold the Singer now appearing in Publick, from the Effects of his Application to the Study of the foregoing Lessons. But to what Purpose does he appear? Whoever, in the great Theatre of the World, does not distinguish himself, makes but a very insignificant Figure.

-- 2. From the cold Indifference perceived in many Singers, one would believe that the Science of Musick implored their Favour, to be received by them as their most humble Servant.

-- 3. If too many did not persuade themselves that they had studied sufficiently, there would not be such a Scarcity of the Best, nor such a Swarm of the Worst. These, because they can sing by Heart three or four _Kyrie's_[91], think they are arrived at the _Non plus ultra_; but if you give them a _Cantata_ to sing, that is even easy, and fairly written, they, instead of complying as they ought, will tell you with an impudent Face, that Persons of their Degree are not obliged to sing in the vulgar Tongue at Sight. And who can forbear laughing? For a Musician knowing that the Words, let them be either _Latin_ or _Italian_, do not change the Form of the Notes, must immediately conclude, that this pert Answer of the great Man proceeds from his not being able to sing at Sight, or from his not knowing how to read; and he judges right.

-- 4. There are an infinite Number[92] of others, who wish and sigh for the Moment that eases them from the painful Fatigue of their first Studies, hoping to have a Chance to make one in the Crowd of the second Rate; and stumbling by good Luck on something that gives them Bread, they immediately make a Legg to Musick and its Study, not caring whether the World knows they are, or are not among the Living. These do not consider that _Mediocrity_ in a Singer means _Ignorance_.

-- 5. There are also several who study nothing but the Defects, and are endow'd with a marvelous Aptness to learn them all, having so happy a Memory as never to forget them. Their Genius is so inclined to the Bad, that if by Gift of Nature they had the best of Voices, they would be discontented if they could not find some Means to make it the worst.

-- 6. One of a better Spirit will endeavour to keep better Company. He will be sensible of the Necessity of farther Discoveries, of farther Instructions, and even of another Master, of whom, besides the Art of Singing, he would be glad to learn how to behave himself with good Breeding. This, added to the Merit acquired by his Singing, may give him Hopes of the Favour of Princes, and of an universal Esteem.

-- 7. If he aims at the Character of a young Man of Wit and Judgment, let him not be vulgar or too bold.

-- 8. Let him shun low and disreputable Company, but, above all, such as abandon themselves to scandalous Liberties.

-- 9. That Professor ought not to be frequented, though excellent in this Art, whose behaviour is vulgar and discreditable, and who cares not, provided he makes his Fortune, whether it be at the Expence of his Reputation.

-- 10. The best School is the n.o.bility, from whom every thing that is genteel is to be learned; but when a Musician finds that his Company is not proper, let him retire without repining, and his Modesty will be to his Commendation.

-- 11. If he should not meet with a Gratification from the Great, let him never complain; for it is better to get but little, than to lose a great deal, and that is not seldom the Case. The best he can do, is to be a.s.siduous in serving them, that at least he may hope for the Pleasure of seeing them for once grateful, or be convinced for ever of their being ungrateful.

-- 12. My long and repeated Travels have given me an Opportunity of being acquainted with most of the Courts of _Europe_, and Examples, more than my Words, should persuade every able Singer to see them also; but without yielding up his Liberty to their Allurements: For Chains, though of Gold, are still Chains; and they are not all of that precious Metal: Besides, the several Inconveniencies of Disgrace, Mortifications, Uncertainty; and, above all, the Hindrance of Study.

-- 13.[93] The golden Age of Musick would be already at an End, if the Swans did not make their Nests on some Theatres in _Italy_, or on the royal Banks of the _Thames_. O dear _London_!----On the other Streams, they sing no more as they used to do their sweet Notes at their expiring; but rather sadly lament the Expiration of those august and adorable Princes, by whom they were tenderly belov'd and esteemed. This is the usual Vicissitude of Things in this World; and we daily see, that whatever is sublunary must of Necessity decline. Let us leave the Tears to the Heart, and return to the Singer.

-- 14. A discreet Person will never use such affected Expressions as, _I cannot sing To-day;--I've got a deadly Cold;_ and, in making his Excuse, falls a Coughing. I can truly say, that I have never in my Life heard a Singer own the Truth, and say, _I'm very well to-day_: They reserve the unseasonable Confession to the next Day, when they make no Difficulty to say, _In all my Days my Voice was never in better Order than it was Yesterday_. I own, on certain Conjunctures, the Pretext is not only suitable, but even necessary; for, to speak the Truth, the indiscreet Parsimony of some, who would hear Musick for Thanks only, goes so far, that they think a Master is immediately obliged to obey them _gratis_, and that the Refusal is an Offence that deserves Resentment and Revenge.

But if it is a Law human and divine, that every Body should live by their honest Labour, what barbarous Custom obliges a Musician to serve without a Recompence? A cursed Over-bearing; O sordid Avarice!

-- 15. A Singer, that knows the World, distinguishes between the different Manners of Commanding; he knows how to refuse without disobliging, and how to obey with a good Grace; not being ignorant, that one, who has his Interest most at Heart, sometimes finds his Account in serving without a Gratification.

-- 16. One who sings with a Desire of gaining Honour and Credit, cannot sing ill, and in time will sing better; and one, who thinks on nothing but Gain, is in the ready way to remain ignorant.

-- 17. Who would ever think (if Experience did not shew it) that a Virtue of the highest Estimation should prejudice a Singer? And yet, whilst Presumption and Arrogance triumph (I'm shock'd to think on't) amiable Humility, the more the Singer has of it, the more it depresses him.

-- 18. At first Sight, Arrogance has the Appearance of Ability; but, upon a nearer View, I can discover Ignorance in Masquerade.

-- 19. This Arrogance serves them sometimes, as a politick Artifice to hide their own Failings: For Example, certain Singers would not be unconcern'd, under the Shame of not being able to sing a few Barrs at Sight, if with Shrugs, scornful Glances, and malicious shaking of their Heads, they did not give the Auditors to understand that those gross Errors are owing to him that accompanies, or to the _Orchestre_.

-- 20. To humble such Arrogance, may it never meet with that Incense which it expects.

-- 21. Who could sing better than the Arogant, if they were not ashamed to study?

-- 22. It is a Folly in a Singer to grow vain at the first Applauses, without reflecting whether they are given by Chance, or out of Flattery; and if he thinks he deserves them, there is an End of him.

-- 23. He should regulate his Voice according to the Place where he sings; for it would be the greatest Absurdity, not to make a Difference between a small Cabinet and a vast Theatre.[94]

-- 24. He is still more to be blam'd, who, when singing in two, three, or four Parts, does so raise his Voice as to drown his Companions; for if it is not Ignorance, it is something worse.

-- 25. All Compositions for more than one Voice ought to be sung strictly as they are written; nor do they require any other Art but a n.o.ble Simplicity. I remember to have heard once a famous _Duetto_ torn into Atoms by two renown'd Singers, in Emulation; the one proposing, and the other by Turns answering, that at last it[95] ended in a Contest, who could produce the most Extravagancies.

-- 26. The Correction of Friends, that have Knowledge, instructs very much; but still greater Advantage may be gain'd from the ill-natur'd Criticks; for, the more intent they are to discover Defects, the greater Benefit may be receiv'd from them without any Obligation.

-- 27. It is certain, that the Errors corrected by our Enemies are better cur'd, than those corrected by ourselves; for we are apt to indulge our Faults, nor can we so easily perceive them.

-- 28. He that sings with Applause in one Place only, let him not have too good an Opinion of himself; let him often change Climates, and then he will judge better of his Talent.

-- 29. To please universally, Reason will tell you, that you must always sing well; but if Reason does not inform you, Interest will persuade you to conform to the Taste of that Nation (provided it be not too deprav'd) which pays you.

-- 30. If he that sings well provokes Envy, by singing better he will get the Victory over it.

-- 31. I do not know if a perfect Singer can at the same time be a perfect Actor; for the Mind being at once divided by two different Operations, he will probably incline more to one than the other; It being, however, much more difficult to sing well than to act well, the Merit of the first is beyond the second. What a Felicity would it be, to possess both in a perfect Degree![96]

-- 32. Having said, a Singer should not copy, I repeat it now with this Reason; that to copy is the part of a Scholar, that of a Master is to invent.

-- 33. Let it be remembered by the Singer, that copying comes from Laziness, and that none copy ill but out of Ignorance.

-- 34. Where Knowledge with Study makes one a good Singer, Ignorance with one single Copy makes a thousand bad ones; however, among these there are none that will acknowledge her for a Teacher.

-- 35. If many of the female Singers (for whom I have due Respect) would be pleased to consider, that by copying a good one, they are become very bad ones, they would not appear so ridiculous on the Stage for their Affectation in presuming to sing the _Airs_ of the Person they copy, with the same Graces. In this great Error, (if it does not proceed from their Masters) they seem to be governed by Instinct, like the inferior Creatures, rather than by Reason; for That would shew them, that we may arrive at Applause by different ways, and past Examples, as well as one at this present make us sensible, that two Women would not be equally eminent if the one copy'd the other.[97]