French and Italian Sing Styles

How the French Viewed the Differences between French and Italian Singing Styles of the
18th Century
Author(s): Elizabeth Hehr
Source: International Review of the Aesthetics and Sociology of Music, Vol. 16, No. 1 (Jun.,
1985), pp. 73-85
Published by: Croatian Musicological Society
Stable URL: http://www.jstor.org/stable/836463 .
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E. HEHR, FRENCH VIEW OF 18TH-CENT. SINGING STYLES, IRASM 16 (1985), 1, 73-85 E. HEHR, FRENCH VIEW OF 18TH-CENT. SINGING STYLES, IRASM 16 (1985), 1, 73-85 E. HEHR, FRENCH VIEW OF 18TH-CENT. SINGING STYLES, IRASM 16 (1985), 1, 73-85 E. HEHR, FRENCH VIEW OF 18TH-CENT. SINGING STYLES, IRASM 16 (1985), 1, 73-85 E. HEHR, FRENCH VIEW OF 18TH-CENT. SINGING STYLES, IRASM 16 (1985), 1, 73-85 E. HEHR, FRENCH VIEW OF 18TH-CENT. SINGING STYLES, IRASM 16 (1985), 1, 73-85
HOW THE FRENCH VIEWED
THE DIFFERENCES BETWEEN FRENCH
AND ITALIAN SINGING STYLES
OF THE 18TH CENTURY
ELIZABETH HEHR UDC: 781.7:7.034.7(=40/-50)
Izvorni znanstveni clanak
Original
Scientific
Pa,per
9 rue
Villedo,
75001
PARIS,
France
Prispjelo:
8.
prosinca
1984.
Received: December
8,
1984
Prihvadeno: 7.
sije/nja 1985.
Accepted: January 7,
1985
With the
professed
influence of Italian musicians and
composers
in
France,
French
theorists,
musicians and informed amateurs felt
compelled
to defend their
point
of view
concerning
what
they
considered the
proper,
if
not the more
interesting, style
of
singing. Definitely
the fmost contro-
versial trends of the
eighteenth
century
were found in France and in
Italy.
Though
numerous turn-abouts in what was considered correct or fashion-
able did take
place during
the seventeenth and
eighteenth centuries,
the
culminating flamboyant
vs. refined
styles
of
performance
existed for the
better
part
of this latter
century.
Much has been written about the 'Guerre des Bouffons'. Yet it is
fascinating
to read in the basic treatises on
singing,
music
appreciation
or
even in the introductions to
song
books to what extent the French found
it
necessary
to
explain
their
preference
for a more
subtly
embellished
style.
In
general,
most of these
disputes
center around
ornamentation,
whether
written or free.
Harpsichordists today
have a definite
advantage
over most
instrumentalists,
and
especially singers,
because modern editions often
include tables of the
composers'
own ornaments.
Nevertheless,
much has
been
explained
about French vocal ornamentation on a
surprisingly specific
level. One
only
has to look in Jean Antoine Berard's L'Art du chant,
dedicated to Mme de
Pompadour,
to find a
description
of the actual
physi-
cal movements of the vocal
anatomy
used to
produce
his
published
list of
ornaments.1 As for the actual execution of the
preferred embellishments,
there is no lack of
suggestions,
even of
specifically
how
many
notes should
be
used;
for
example,
in
L'Ecuyer's Principes
de l'art du chant:
OF THE 18TH CENTURY
Original
Scientific
Pa,per
9 rue
Villedo,
75001
PARIS,
France
Prispjelo:
8.
prosinca
1984.
Received: December
8,
1984
Prihvadeno: 7.
sije/nja 1985.
1985
With the
professed
composers
in
France,
French
theorists,
compelled
to defend their
point
of view
concerning
what
they
considered the
proper,
if
not the more
interesting, style
of
singing. Definitely
the fmost contro-
eighteenth
century
Italy.
Though
able did take
place during
the seventeenth and
the
vs. refined
styles
of
performance
existed for the
better
part
of this latter
century.
fascinating
singing,
music
appreciation
or
song
it
necessary
to
explain
their
preference
for a more
subtly
embellished
style.
In
general,
most of these
disputes
center around
ornamentation,
whether
written or free.
have a definite
advantage
over most
instrumentalists,
and
especially singers,
composers'
own ornaments.
Nevertheless,
much has
been
explained
level. One
only
dedicated to Mme de
Pompadour,
to find a
description
of the actual
physi-
anatomy
used to
produce
his
published
list of
there is no lack of
suggestions,
even of
specifically
how
many
notes should
be
used;
for
example,
in
de l'art du chant:
OF THE 18TH CENTURY
Original
Scientific
Pa,per
9 rue
Villedo,
75001
PARIS,
France
Prispjelo:
8.
prosinca
1984.
Received: December
8,
1984
Prihvadeno: 7.
sije/nja 1985.
1985
With the
professed
composers
in
France,
French
theorists,
compelled
to defend their
point
of view
concerning
what
they
considered the
proper,
if
not the more
interesting, style
of
singing. Definitely
the fmost contro-
eighteenth
century
Italy.
Though
able did take
place during
the seventeenth and
the
vs. refined
styles
of
performance
existed for the
better
part
of this latter
century.
fascinating
singing,
music
appreciation
or
song
it
necessary
to
explain
their
preference
for a more
subtly
embellished
style.
In
general,
most of these
disputes
center around
ornamentation,
whether
written or free.
have a definite
advantage
over most
instrumentalists,
and
especially singers,
composers'
own ornaments.
Nevertheless,
much has
been
explained
level. One
only
dedicated to Mme de
Pompadour,
to find a
description
of the actual
physi-
anatomy
used to
produce
his
published
list of
there is no lack of
suggestions,
even of
specifically
how
many
notes should
be
used;
for
example,
in
de l'art du chant:
OF THE 18TH CENTURY
Original
Scientific
Pa,per
9 rue
Villedo,
75001
PARIS,
France
Prispjelo:
8.
prosinca
1984.
Received: December
8,
1984
Prihvadeno: 7.
sije/nja 1985.
1985
With the
professed
composers
in
France,
French
theorists,
compelled
to defend their
point
of view
concerning
what
they
considered the
proper,
if
not the more
interesting, style
of
singing. Definitely
the fmost contro-
eighteenth
century
Italy.
Though
able did take
place during
the seventeenth and
the
vs. refined
styles
of
performance
existed for the
better
part
of this latter
century.
fascinating
singing,
music
appreciation
or
song
it
necessary
to
explain
their
preference
for a more
subtly
embellished
style.
In
general,
most of these
disputes
center around
ornamentation,
whether
written or free.
have a definite
advantage
over most
instrumentalists,
and
especially singers,
composers'
own ornaments.
Nevertheless,
much has
been
explained
level. One
only
dedicated to Mme de
Pompadour,
to find a
description
of the actual
physi-
anatomy
used to
produce
his
published
list of
there is no lack of
suggestions,
even of
specifically
how
many
notes should
be
used;
for
example,
in
de l'art du chant:
OF THE 18TH CENTURY
Original
Scientific
Pa,per
9 rue
Villedo,
75001
PARIS,
France
Prispjelo:
8.
prosinca
1984.
Received: December
8,
1984
Prihvadeno: 7.
sije/nja 1985.
1985
With the
professed
composers
in
France,
French
theorists,
compelled
to defend their
point
of view
concerning
what
they
considered the
proper,
if
not the more
interesting, style
of
singing. Definitely
the fmost contro-
eighteenth
century
Italy.
Though
able did take
place during
the seventeenth and
the
vs. refined
styles
of
performance
existed for the
better
part
of this latter
century.
fascinating
singing,
music
appreciation
or
song
it
necessary
to
explain
their
preference
for a more
subtly
embellished
style.
In
general,
most of these
disputes
center around
ornamentation,
whether
written or free.
have a definite
advantage
over most
instrumentalists,
and
especially singers,
composers'
own ornaments.
Nevertheless,
much has
been
explained
level. One
only
dedicated to Mme de
Pompadour,
to find a
description
of the actual
physi-
anatomy
used to
produce
his
published
list of
there is no lack of
suggestions,
even of
specifically
how
many
notes should
be
used;
for
example,
in
de l'art du chant:
OF THE 18TH CENTURY
Original
Scientific
Pa,per
9 rue
Villedo,
75001
PARIS,
France
Prispjelo:
8.
prosinca
1984.
Received: December
8,
1984
Prihvadeno: 7.
sije/nja 1985.
1985
With the
professed
composers
in
France,
French
theorists,
compelled
to defend their
point
of view
concerning
what
they
considered the
proper,
if
not the more
interesting, style
of
singing. Definitely
the fmost contro-
eighteenth
century
Italy.
Though
able did take
place during
the seventeenth and
the
vs. refined
styles
of
performance
existed for the
better
part
of this latter
century.
fascinating
singing,
music
appreciation
or
song
it
necessary
to
explain
their
preference
for a more
subtly
embellished
style.
In
general,
most of these
disputes
center around
ornamentation,
whether
written or free.
have a definite
advantage
over most
instrumentalists,
and
especially singers,
composers'
own ornaments.
Nevertheless,
much has
been
explained
level. One
only
dedicated to Mme de
Pompadour,
to find a
description
of the actual
physi-
anatomy
used to
produce
his
published
list of
there is no lack of
suggestions,
even of
specifically
how
many
notes should
be
used;
for
example,
in
de l'art du chant:
i
Jean Antoine
BERARD,
L'Art du
chant, Paris, 1755, pp.
112-135.
i
Jean Antoine
BERARD,
L'Art du
112-135.
i
Jean Antoine
BERARD,
L'Art du
112-135.
i
Jean Antoine
BERARD,
L'Art du
112-135.
i
Jean Antoine
BERARD,
L'Art du
112-135.
i
Jean Antoine
BERARD,
L'Art du
112-135.
73 73 73 73 73 73
74
E. HEHR, FRENCH VIEW OF 18TH-CENT. SINGING STYLES, IRASM 16
(1985), 1, 73-85
74
(1985), 1, 73-85
74
(1985), 1, 73-85
74
(1985), 1, 73-85
74
(1985), 1, 73-85
74
(1985), 1, 73-85
>La cadence
parfaite
a trois
parties, sgavoir,
sa
preparation,
son batte-
ment & sa terminalson: sa
preparation
doit
toujours
se faire avec un
martellement,
...
quand
la Note
qui
la
precede
est inf6rieure d'un ou
plusieurs degres.
Jr'
r
1F-- - FIK
I
r'
martellement
On ne la
place qu'a
la fin d'une
phrase.
Remarquez que
toutes les fois
qu'il
reste deux
syllabes apres
une ca-
dence
parfaite,
il faut doubler la
premiere
de ces deux
syllabes.<<2
>The
perfect
trill has three
parts,
that
is,
its
preparation,
its
trilling
and its
ending.
Its
preparation
must
always
start with a 'martellement'
[pince],
. .. when the
preceding
note is lower
by
one or more
steps.
It is
only
used at the end of a
phrase.
Note that
every
time that there follow two
syllables
after a
perfect
trill,
it is
necessary
to double the first of these two
syllables.<
In M. David's Methode nouvelle the idea of a
very precise interpretation
of the ornament is indicated
by
the
author, although
a fair amount of
liberty
is left
up
to the
performer.
>>La Cadence
prepar6e Iprend
son
appui
du
ton,
ou du demi ton audes-
sus du celle
qu'on
veut cadenoer,
& sa
preparation
doit durer la moi-
tie de la valeur de la Note
cadencee,
& marteller ensuite sur l'autre
moitie de sa valeur, de mmee
que
si l'on vouloit
exprimer plusieurs
croches d'un
degre
a
l'au,tre,
du meme
coup
de
gosier
& sur le declin
de la
Cadence,
de me&me
que
si l'on vouloit
exprimer
des doubles,
&
des
triples croches,
terminant la
Cadence,
ou les battements
par
un
repos,
ou soutien du ton de la Note cadencee.?3
*The
prepared
trill takes its
support
from the whole or the half
step
above the note to be trilled. Its
preparation
must take half the value
of the note to be trilled and then trilled for the other half of its
value,
using
several
eighth
notes from one
degree
to another,
or a turn at the
end of the
trill,
or even if one would like to use sixteenth and
thirty-
second
notes, ending
the trill or the beats
by
a rest or
holding
the note
to be trilled.<
Yet
despite
this
surprising
exactness,
French vocal
composers
were in
no
way
consistent about whether or not
their ornaments were included in
their
music;
some
expected
the
singer
to have the
necessary
'bon
gout'
to
know where
they
would be
appropriate.
Not were
they precise
about
how
many
varieties of these
specific
embellishments existed.
Writers,
like Be-
2
,L'CUYER, Principes
de l'art du
11-12.
3
Frangois DAVIID,
Methode nouvelle ou Principes generaux pour apprendre fa-
cilement la musique, e 'at art echanter, Lyon, 1737, p.
133.
>La cadence
parfaite
a trois
parties, sgavoir,
sa
preparation,
son batte-
preparation
doit
toujours
se faire avec un
martellement,
...
quand
la Note
qui
la
precede
plusieurs degres.
Jr'
r
1F-- - FIK
I
r'
martellement
On ne la
place qu'a
la fin d'une
phrase.
Remarquez que
toutes les fois
qu'il
reste deux
syllabes apres
une ca-
dence
parfaite,
il faut doubler la
premiere
de ces deux
syllabes.<<2
>The
perfect
trill has three
parts,
that
is,
its
preparation,
its
trilling
and its
ending.
Its
preparation
must
always
[pince],
. .. when the
preceding
note is lower
by
one or more
steps.
It is
only
phrase.
Note that
every
syllables
after a
perfect
trill,
it is
necessary
syllables.<
by
the
author, although
a fair amount of
liberty
is left
up
to the
performer.
>>La Cadence
prepar6e Iprend
son
appui
du
ton,
sus du celle
qu'on
veut cadenoer,
& sa
preparation
doit durer la moi-
cadencee,
que
si l'on vouloit
exprimer plusieurs
croches d'un
degre
a
l'au,tre,
du meme
coup
de
gosier
& sur le declin
de la
Cadence,
de me&me
que
si l'on vouloit
exprimer
des doubles,
&
des
triples croches,
terminant la
Cadence,
ou les battements
par
un
repos,
*The
prepared
trill takes its
support
step
preparation
value,
using
several
eighth
notes from one
degree
to another,
or a turn at the
end of the
trill,
thirty-
second
notes, ending
by
a rest or
holding
the note
to be trilled.<
Yet
despite
this
surprising
exactness,
French vocal
composers
were in
no
way
their
music;
some
expected
the
singer
to have the
necessary
'bon
gout'
to
know where
they
would be
appropriate.
Not were
they precise
about
how
many
varieties of these
specific
Writers,
like Be-
2
,L'CUYER, Principes
de l'art du
11-12.
3
Frangois DAVIID,
133.
>La cadence
parfaite
a trois
parties, sgavoir,
sa
preparation,
son batte-
preparation
doit
toujours
se faire avec un
martellement,
...
quand
la Note
qui
la
precede
plusieurs degres.
Jr'
r
1F-- - FIK
I
r'
martellement
On ne la
place qu'a
la fin d'une
phrase.
Remarquez que
toutes les fois
qu'il
reste deux
syllabes apres
une ca-
dence
parfaite,
il faut doubler la
premiere
de ces deux
syllabes.<<2
>The
perfect
trill has three
parts,
that
is,
its
preparation,
its
trilling
and its
ending.
Its
preparation
must
always
[pince],
. .. when the
preceding
note is lower
by
one or more
steps.
It is
only
phrase.
Note that
every
syllables
after a
perfect
trill,
it is
necessary
syllables.<
by
the
author, although
a fair amount of
liberty
is left
up
to the
performer.
>>La Cadence
prepar6e Iprend
son
appui
du
ton,
sus du celle
qu'on
veut cadenoer,
& sa
preparation
doit durer la moi-
cadencee,
que
si l'on vouloit
exprimer plusieurs
croches d'un
degre
a
l'au,tre,
du meme
coup
de
gosier
& sur le declin
de la
Cadence,
de me&me
que
si l'on vouloit
exprimer
des doubles,
&
des
triples croches,
terminant la
Cadence,
ou les battements
par
un
repos,
*The
prepared
trill takes its
support
step
preparation
value,
using
several
eighth
notes from one
degree
to another,
or a turn at the
end of the
trill,
thirty-
second
notes, ending
by
a rest or
holding
the note
to be trilled.<
Yet
despite
this
surprising
exactness,
French vocal
composers
were in
no
way
their
music;
some
expected
the
singer
to have the
necessary
'bon
gout'
to
know where
they
would be
appropriate.
Not were
they precise
about
how
many
varieties of these
specific
Writers,
like Be-
2
,L'CUYER, Principes
de l'art du
11-12.
3
Frangois DAVIID,
133.
>La cadence
parfaite
a trois
parties, sgavoir,
sa
preparation,
son batte-
preparation
doit
toujours
se faire avec un
martellement,
...
quand
la Note
qui
la
precede
plusieurs degres.
Jr'
r
1F-- - FIK
I
r'
martellement
On ne la
place qu'a
la fin d'une
phrase.
Remarquez que
toutes les fois
qu'il
reste deux
syllabes apres
une ca-
dence
parfaite,
il faut doubler la
premiere
de ces deux
syllabes.<<2
>The
perfect
trill has three
parts,
that
is,
its
preparation,
its
trilling
and its
ending.
Its
preparation
must
always
[pince],
. .. when the
preceding
note is lower
by
one or more
steps.
It is
only
phrase.
Note that
every
syllables
after a
perfect
trill,
it is
necessary
syllables.<
by
the
author, although
a fair amount of
liberty
is left
up
to the
performer.
>>La Cadence
prepar6e Iprend
son
appui
du
ton,
sus du celle
qu'on
veut cadenoer,
& sa
preparation
doit durer la moi-
cadencee,
que
si l'on vouloit
exprimer plusieurs
croches d'un
degre
a
l'au,tre,
du meme
coup
de
gosier
& sur le declin
de la
Cadence,
de me&me
que
si l'on vouloit
exprimer
des doubles,
&
des
triples croches,
terminant la
Cadence,
ou les battements
par
un
repos,
*The
prepared
trill takes its
support
step
preparation
value,
using
several
eighth
notes from one
degree
to another,
or a turn at the
end of the
trill,
thirty-
second
notes, ending
by
a rest or
holding
the note
to be trilled.<
Yet
despite
this
surprising
exactness,
French vocal
composers
were in
no
way
their
music;
some
expected
the
singer
to have the
necessary
'bon
gout'
to
know where
they
would be
appropriate.
Not were
they precise
about
how
many
varieties of these
specific
Writers,
like Be-
2
,L'CUYER, Principes
de l'art du
11-12.
3
Frangois DAVIID,
133.
>La cadence
parfaite
a trois
parties, sgavoir,
sa
preparation,
son batte-
preparation
doit
toujours
se faire avec un
martellement,
...
quand
la Note
qui
la
precede
plusieurs degres.
Jr'
r
1F-- - FIK
I
r'
martellement
On ne la
place qu'a
la fin d'une
phrase.
Remarquez que
toutes les fois
qu'il
reste deux
syllabes apres
une ca-
dence
parfaite,
il faut doubler la
premiere
de ces deux
syllabes.<<2
>The
perfect
trill has three
parts,
that
is,
its
preparation,
its
trilling
and its
ending.
Its
preparation
must
always
[pince],
. .. when the
preceding
note is lower
by
one or more
steps.
It is
only
phrase.
Note that
every
syllables
after a
perfect
trill,
it is
necessary
syllables.<
by
the
author, although
a fair amount of
liberty
is left
up
to the
performer.
>>La Cadence
prepar6e Iprend
son
appui
du
ton,
sus du celle
qu'on
veut cadenoer,
& sa
preparation
doit durer la moi-
cadencee,
que
si l'on vouloit
exprimer plusieurs
croches d'un
degre
a
l'au,tre,
du meme
coup
de
gosier
& sur le declin
de la
Cadence,
de me&me
que
si l'on vouloit
exprimer
des doubles,
&
des
triples croches,
terminant la
Cadence,
ou les battements
par
un
repos,
*The
prepared
trill takes its
support
step
preparation
value,
using
several
eighth
notes from one
degree
to another,
or a turn at the
end of the
trill,
thirty-
second
notes, ending
by
a rest or
holding
the note
to be trilled.<
Yet
despite
this
surprising
exactness,
French vocal
composers
were in
no
way
their
music;
some
expected
the
singer
to have the
necessary
'bon
gout'
to
know where
they
would be
appropriate.
Not were
they precise
about
how
many
varieties of these
specific
Writers,
like Be-
2
,L'CUYER, Principes
de l'art du
11-12.
3
Frangois DAVIID,
133.
>La cadence
parfaite
a trois
parties, sgavoir,
sa
preparation,
son batte-
preparation
doit
toujours
se faire avec un
martellement,
...
quand
la Note
qui
la
precede
plusieurs degres.
Jr'
r
1F-- - FIK
I
r'
martellement
On ne la
place qu'a
la fin d'une
phrase.
Remarquez que
toutes les fois
qu'il
reste deux
syllabes apres
une ca-
dence
parfaite,
il faut doubler la
premiere
de ces deux
syllabes.<<2
>The
perfect
trill has three
parts,
that
is,
its
preparation,
its
trilling
and its
ending.
Its
preparation
must
always
[pince],
. .. when the
preceding
note is lower
by
one or more
steps.
It is
only
phrase.
Note that
every
syllables
after a
perfect
trill,
it is
necessary
syllables.<
by
the
author, although
a fair amount of
liberty
is left
up
to the
performer.
>>La Cadence
prepar6e Iprend
son
appui
du
ton,
sus du celle
qu'on
veut cadenoer,
& sa
preparation
doit durer la moi-
cadencee,
que
si l'on vouloit
exprimer plusieurs
croches d'un
degre
a
l'au,tre,
du meme
coup
de
gosier
& sur le declin
de la
Cadence,
de me&me
que
si l'on vouloit
exprimer
des doubles,
&
des
triples croches,
terminant la
Cadence,
ou les battements
par
un
repos,
*The
prepared
trill takes its
support
step
preparation
value,
using
several
eighth
notes from one
degree
to another,
or a turn at the
end of the
trill,
thirty-
second
notes, ending
by
a rest or
holding
the note
to be trilled.<
Yet
despite
this
surprising
exactness,
French vocal
composers
were in
no
way
their
music;
some
expected
the
singer
to have the
necessary
'bon
gout'
to
know where
they
would be
appropriate.
Not were
they precise
about
how
many
varieties of these
specific
Writers,
like Be-
2
,L'CUYER, Principes
de l'art du
11-12.
3
Frangois DAVIID,
133.
E. HEHR, FRENCH VIEW OF 18TH-CENT. SINGING STYLES, IRASM 16 (1985), 1, 73--85
7
7
7
7
7
7
rard, even
expressed
amazement at this indeterminate number of
'agre'-
mens' as stated in his aforementioned book: >*II est
surprenant qu'on ne
soit
point
avise
jusqu'ici
ide de'terminer le nombre des
agre'mens,
& d'en
expliquer
la nature.-<4
(>*It
is
surprising
that
up
until
now, one has not
found it advisable to determine the -exact number of ornaments and their
meanings..,x)
For
indeed, not
only
were there differ-ences in the r-ealization
of a
given -orn-ament, but also in its name.5
Monteclair, in his
Principes
complains
that
naturally
this becomes most
confusing
for the student who
although
he learns from one
mast-er, may
be unable to
interpret another.
He then adds:
>>La
musique
e'tant la me'me pour
les Voix comme
pour
les
instrumens,
on devroit s-e s-ervir des memes noms., et convenir unanimemt. des
figu-
res les
plus propres 'a repre'senter
les
agre6mens
du, chant..*.6
>>.As music is the same for voices as for
instruments, one should use
the same names for them and
unanimously agree upon
the
proper
signs
to
represent ornam*ents.-(<
He then
proce-eds
to list
eighteen 'agre'mens'
while Be'rard lists
twelve;
L'Ecuyer, six;7 L'Affillard, fourteen;8 and so on.
Most
agreed, however, that these ornaments were
only
extra flourishes
which shojuld not be added to the detriment of either the music or the text.
Le Cerf in his
Comparaison criticised the overabundant use of embellish-
ments as inexcusable.9
Likewise, the reknowned author of the
Encyclope6-
die.,
Denis
Diderot, voiced his
opinion specifically
in connection to
opera
singers
under the
heading 'Chant', by s-aying:
>>*Presque jamais
les sons ne sont
donne'
ni avec
Ila justesse, ni avec
I'aisance, ni avec les
iagre'mens
dont
uls
sont
susceptibles. On voit
par-
tout
1'effort; & toutes les fois
que 1'effort se
montre, l'agr6ment disp-a-
roit.-<40
>*Almost never are notes in
tune,
nor
produced with
ease, nor with the
ornaments suited to, them.
Everywhere
an effort 'is apparent; and
every-time effort
is'shown, pleasure
disappears.-<<
Naturally, many
olf the same remarks heard
today
also existed in the
eighteenth century,
such as that of bad
p-ronunciation or the
accompanist's
4
J. A.
BPDRARD, op. cit., p. 112.
'
L'TCUYER, Ordinaire
cde L'Acad6mie Royale de Musique, views it more a-s a
problem of identical
signs used for different interpretations (op. cit., p. 11).
6
Michel Pignolet de
MONTECLAIR, Principes de musique, Paris, '1738, p. 78.
7L'UCUYER, op. cit., pp. 10~-18.
8
Michel L'AFFTTLLARD, Principes tr~s-faciles pour bien
apprendre la
musique,
Paris, 1717, pp. 2,5-.27.
9
Jean-Laurent LE CERF DE LA VIEVILLE SIEUR
D)E FRESNEUSE, Compa-
raison de la musique italienne et de la musique
frangoise, Bruxelles, 1706, tome IV,
p. 127: '>Les ornamens ne sont point de l'essence ides Pie'ces, le -su-perflu devient ais&'
ment
incommode, & d'abord qu'il est incommode, il est inexcusable.x (>'Ornaments are
not the essence of music. The isuperfluous easily becomes awkward; and as soon as it
is awkward, it is inexcusable.()
10
Denis DIDEROT, Encyclop6die, ou Dictionnaire
raisonne' des
sciences, des arts
et des m6tiers, par une societ6 de gens de lettres, Paris, 1761-1765, P. '145.
rard, even
expressed
'agre'-
surprenant qu'on ne
soit
point
avise
jusqu'ici
agre'mens,
& d'en
expliquer
la nature.-<4
(>*It
is
surprising
that
up
until
now, one has not
meanings..,x)
For
indeed, not
only
of a
Monteclair, in his
Principes
complains
that
naturally
this becomes most
confusing
for the student who
although
he learns from one
mast-er, may
be unable to
interpret another.
He then adds:
>>La
musique
les Voix comme
pour
les
instrumens,
figu-
res les
les
agre6mens
du, chant..*.6
the
proper
signs
to
He then
proce-eds
to list
while Be'rard lists
twelve;
Most
only
extra flourishes
Le Cerf in his
Encyclope6-
die.,
Denis
Diderot, voiced his
in connection to
opera
singers
under the
>>*Presque jamais
les sons ne sont
donne'
ni avec
iagre'mens
dont
uls
sont
par-
tout
que 1'effort se
roit.-<40
tune,
nor
produced with
ease, nor with the
Everywhere
every-time effort
is'shown, pleasure
disappears.-<<
Naturally, many
today
also existed in the
eighteenth century,
such as that of bad
accompanist's
4
J. A.
'
L'TCUYER, Ordinaire
6
Michel Pignolet de
8
apprendre la
musique,
Paris, 1717, pp. 2,5-.27.
9
ment
10
raisonne' des
sciences, des arts
rard, even
expressed
'agre'-
surprenant qu'on ne
soit
point
avise
jusqu'ici
agre'mens,
& d'en
expliquer
la nature.-<4
(>*It
is
surprising
that
up
until
now, one has not
meanings..,x)
For
indeed, not
only
of a
Monteclair, in his
Principes
complains
that
naturally
this becomes most
confusing
for the student who
although
he learns from one
mast-er, may
be unable to
interpret another.
He then adds:
>>La
musique
les Voix comme
pour
les
instrumens,
figu-
res les
les
agre6mens
du, chant..*.6
the
proper
signs
to
He then
proce-eds
to list
while Be'rard lists
twelve;
Most
only
extra flourishes
Le Cerf in his
Encyclope6-
die.,
Denis
Diderot, voiced his
in connection to
opera
singers
under the
>>*Presque jamais
les sons ne sont
donne'
ni avec
iagre'mens
dont
uls
sont
par-
tout
que 1'effort se
roit.-<40
tune,
nor
produced with
ease, nor with the
Everywhere
every-time effort
is'shown, pleasure
disappears.-<<
Naturally, many
today
also existed in the
eighteenth century,
such as that of bad
accompanist's
4
J. A.
'
L'TCUYER, Ordinaire
6
Michel Pignolet de
8
apprendre la
musique,
Paris, 1717, pp. 2,5-.27.
9
ment
10
raisonne' des
sciences, des arts
rard, even
expressed
'agre'-
surprenant qu'on ne
soit
point
avise
jusqu'ici
agre'mens,
& d'en
expliquer
la nature.-<4
(>*It
is
surprising
that
up
until
now, one has not
meanings..,x)
For
indeed, not
only
of a
Monteclair, in his
Principes
complains
that
naturally
this becomes most
confusing
for the student who
although
he learns from one
mast-er, may
be unable to
interpret another.
He then adds:
>>La
musique
les Voix comme
pour
les
instrumens,
figu-
res les
les
agre6mens
du, chant..*.6
the
proper
signs
to
He then
proce-eds
to list
while Be'rard lists
twelve;
Most
only
extra flourishes
Le Cerf in his
Encyclope6-
die.,
Denis
Diderot, voiced his
in connection to
opera
singers
under the
>>*Presque jamais
les sons ne sont
donne'
ni avec
iagre'mens
dont
uls
sont
par-
tout
que 1'effort se
roit.-<40
tune,
nor
produced with
ease, nor with the
Everywhere
every-time effort
is'shown, pleasure
disappears.-<<
Naturally, many
today
also existed in the
eighteenth century,
such as that of bad
accompanist's
4
J. A.
'
L'TCUYER, Ordinaire
6
Michel Pignolet de
8
apprendre la
musique,
Paris, 1717, pp. 2,5-.27.
9
ment
10
raisonne' des
sciences, des arts
rard, even
expressed
'agre'-
surprenant qu'on ne
soit
point
avise
jusqu'ici
agre'mens,
& d'en
expliquer
la nature.-<4
(>*It
is
surprising
that
up
until
now, one has not
meanings..,x)
For
indeed, not
only
of a
Monteclair, in his
Principes
complains
that
naturally
this becomes most
confusing
for the student who
although
he learns from one
mast-er, may
be unable to
interpret another.
He then adds:
>>La
musique
les Voix comme
pour
les
instrumens,
figu-
res les
les
agre6mens
du, chant..*.6
the
proper
signs
to
He then
proce-eds
to list
while Be'rard lists
twelve;
Most
only
extra flourishes
Le Cerf in his
Encyclope6-
die.,
Denis
Diderot, voiced his
in connection to
opera
singers
under the
>>*Presque jamais
les sons ne sont
donne'
ni avec
iagre'mens
dont
uls
sont
par-
tout
que 1'effort se
roit.-<40
tune,
nor
produced with
ease, nor with the
Everywhere
every-time effort
is'shown, pleasure
disappears.-<<
Naturally, many
today
also existed in the
eighteenth century,
such as that of bad
accompanist's
4
J. A.
'
L'TCUYER, Ordinaire
6
Michel Pignolet de
8
apprendre la
musique,
Paris, 1717, pp. 2,5-.27.
9
ment
10
raisonne' des
sciences, des arts
rard, even
expressed
'agre'-
surprenant qu'on ne
soit
point
avise
jusqu'ici
agre'mens,
& d'en
expliquer
la nature.-<4
(>*It
is
surprising
that
up
until
now, one has not
meanings..,x)
For
indeed, not
only
of a
Monteclair, in his
Principes
complains
that
naturally
this becomes most
confusing
for the student who
although
he learns from one
mast-er, may
be unable to
interpret another.
He then adds:
>>La
musique
les Voix comme
pour
les
instrumens,
figu-
res les
les
agre6mens
du, chant..*.6
the
proper
signs
to
He then
proce-eds
to list
while Be'rard lists
twelve;
Most
only
extra flourishes
Le Cerf in his
Encyclope6-
die.,
Denis
Diderot, voiced his
in connection to
opera
singers
under the
>>*Presque jamais
les sons ne sont
donne'
ni avec
iagre'mens
dont
uls
sont
par-
tout
que 1'effort se
roit.-<40
tune,
nor
produced with
ease, nor with the
Everywhere
every-time effort
is'shown, pleasure
disappears.-<<
Naturally, many
today
also existed in the
eighteenth century,
such as that of bad
accompanist's
4
J. A.
'
L'TCUYER, Ordinaire
6
Michel Pignolet de
8
apprendre la
musique,
Paris, 1717, pp. 2,5-.27.
9
ment
10
raisonne' des
sciences, des arts
75 75 75 75 75 75
76 E. HEHR, FRENCH VIEW OF 18TH-CENT. SINGING STYLES, IRASM 16 (1965), 1, 73-85 76 E. HEHR, FRENCH VIEW OF 18TH-CENT. SINGING STYLES, IRASM 16 (1965), 1, 73-85 76 E. HEHR, FRENCH VIEW OF 18TH-CENT. SINGING STYLES, IRASM 16 (1965), 1, 73-85 76 E. HEHR, FRENCH VIEW OF 18TH-CENT. SINGING STYLES, IRASM 16 (1965), 1, 73-85 76 E. HEHR, FRENCH VIEW OF 18TH-CENT. SINGING STYLES, IRASM 16 (1965), 1, 73-85 76 E. HEHR, FRENCH VIEW OF 18TH-CENT. SINGING STYLES, IRASM 16 (1965), 1, 73-85
domination of the
singer. Nevertheless,
as
L'Ecuyer
reasons for most of
these
incomprehensible performances:
'>cela vient encore
plus
de ce
que
l'on donne
trop
aux
agrements
& de ce
que
l'on sacrifie le sens a des Sons"<l
(>>that mostly
comes from
making
too much out of the ornaments and
thereby sacrificing
the
meaning
for
sounds?).
Yet there is still another
underlying
thought
which is
very
evident
when
composers
or writers
speak
'of the French
style
of
singing
and that
is one of a desired sense of
nobility12
or subtleness even to the
point
of
restraint
(mostly
referred to as 'bon
gofit',
which for them was so
necessary
for a correct
interpretation
of their
music).
Monteclair
expresses
this
quality
in the
following way:
>>La
musique
Latine
perfectionne
la
Science,
et la
Musique
Frangoise
perfectione
le
gout.
I1 ne suffit
pas pour
bien chanter le
Frangois,
de
savoir bien la
musique,
ni d'avoir de la
voix,
il faut encore avoir du
gouit,
de
l'ame,
de la flexibilite dans la
voix,
et du discernement
pour
donner aux
paroles l'expression qu'elles demandent,
suivant les diffe-
rents caracteres.<l3
>Latin music
perfects science and French music
perfects 'gout'.
It does
not suffice in order to
sing
French
well,
to know the music
well,
nor
to have a
good
voice. It is still
necessary
to have
'gout', soul,
vocal
flexibility
and
insight
in order to
give
the words their
necessary
expression according
to their different meanings.<
Eighteen years earlier, Blainville,
like so
many others, explained
his
feelings
about this essential
point by
first
taking
a
poke
at the
contrasting
Italian
style
when he wrote:
>l'imagination
sembleroit suffire
pour compo-
ser de la
Musique
Italienne: mais
pour
en
composer
de la
Frangoise,
il faut
y
joindre
un
gout exquiss.14
(>imagination
would seem to suffice in order
to
compose
Italian
music;
but in order to
compose French,
it is
necessary
to add to that an
exquisite 'gout'?).
Sieur Lambert was
highly praised by
Bourdelot and Bonnet in their Histoire when it was said that he
[Lambert]
well-illustrated the French manner of
singing,
even to the
point
of
perfect-
ing
the art
t1
L']CUYER, op. cit., p.
7.
12
RAPARLIER, Principes
de
musique,
des
agr6ments
du chant et un essai sur
la
prononciation,
I'articulation et la
prosodie
de la
langue frangaise, Lille, 1772, p.
16:
-Le Genre de l'Opera Francois ou de 1'Academie Royale
de
Musique
doit etre
noble,
les Port-de-voix
marques
&
isensibles,
les
Agr6ments
du Chant
detaches,
les Paroles
bien articulees en doublant les consonnes,
& c.<
!(>>The style
of the
'Opera
Francois'
or of the
Royal Academy
of Music must be
noble,
the 'Port-de-voix' accented and
sensitive,
the vocal ornamentation detached, and the text well articulated by doubling
the
consonances, etc.<<) Raparlier
is not the
only
author who also classifies the differ-
ent idioms in individual sets of
acceptable
flourishes. He
goes
on to
say:
>>Le
genre
de
l'Op6ra-Bouffon,
doit etre vif &
lger,
dans
lequel
les
Roulades, Passages,
tours de
Gosiers,
sont les
Agrements
les
plus
usites.- (-The style
of the
'Opera-Bouffon' must
be
lively
and
light,
in which
runs, passage
notes and turns are the most common
ornaments.c)
13 M. P. de
MONTECLAIR, op. cit., p.
77.
14
Charles Henri de
BLAINVILLE, L'Esprit
de I'art musical ou
Reflexions sur
la
musique
et ses
differentes parties, Geneva, 1754, pp.
3-4.
domination of the
as
L'Ecuyer
reasons for most of
these
'>cela vient encore
plus
de ce
que
l'on donne
trop
aux
agrements
& de ce
que
(>>that mostly
comes from
making
thereby sacrificing
the
meaning
for
sounds?).
underlying
thought
which is
very
evident
when
composers
or writers
speak
'of the French
style
of
singing
and that
nobility12
point
of
restraint
(mostly
referred to as 'bon
gofit',
necessary
for a correct
interpretation
of their
music).
Monteclair
expresses
this
quality
in the
following way:
>>La
musique
Latine
perfectionne
la
Science,
et la
Musique
Frangoise
perfectione
le
gout.
I1 ne suffit
pas pour
bien chanter le
Frangois,
de
savoir bien la
musique,
ni d'avoir de la
voix,
gouit,
de
l'ame,
voix,
et du discernement
pour
donner aux
suivant les diffe-
>Latin music
perfects 'gout'.
It does
sing
French
well,
to know the music
well,
nor
to have a
good
voice. It is still
necessary
to have
'gout', soul,
vocal
flexibility
and
insight
in order to
give
the words their
necessary
like so
his
feelings
point by
first
taking
a
poke
at the
contrasting
Italian
style
when he wrote:
>l'imagination
sembleroit suffire
pour compo-
ser de la
Musique
Italienne: mais
pour
en
composer
de la
Frangoise,
il faut
y
joindre
un
gout exquiss.14
(>imagination
to
compose
Italian
music;
but in order to
compose French,
it is
necessary
to add to that an
exquisite 'gout'?).
Sieur Lambert was
highly praised by
[Lambert]
singing,
even to the
point
of
perfect-
ing
the art
t1
7.
12
de
musique,
des
agr6ments
la
prononciation,
prosodie
de la
16:
de
Musique
doit etre
noble,
les Port-de-voix
marques
&
isensibles,
les
Agr6ments
du Chant
detaches,
les Paroles
& c.<
!(>>The style
of the
'Opera
Francois'
or of the
Royal Academy
of Music must be
noble,
sensitive,
the
is not the
only
acceptable
flourishes. He
goes
on to
say:
>>Le
genre
de
l'Op6ra-Bouffon,
doit etre vif &
lger,
dans
lequel
les
Roulades, Passages,
tours de
Gosiers,
sont les
Agrements
les
plus
of the
be
lively
and
light,
in which
runs, passage
ornaments.c)
13 M. P. de
77.
14
Charles Henri de
de I'art musical ou
Reflexions sur
la
musique
et ses
3-4.
domination of the
as
L'Ecuyer
reasons for most of
these
'>cela vient encore
plus
de ce
que
l'on donne
trop
aux
agrements
& de ce
que
(>>that mostly
comes from
making
thereby sacrificing
the
meaning
for
sounds?).
underlying
thought
which is
very
evident
when
composers
or writers
speak
'of the French
style
of
singing
and that
nobility12
point
of
restraint
(mostly
referred to as 'bon
gofit',
necessary
for a correct
interpretation
of their
music).
Monteclair
expresses
this
quality
in the
following way:
>>La
musique
Latine
perfectionne
la
Science,
et la
Musique
Frangoise
perfectione
le
gout.
I1 ne suffit
pas pour
bien chanter le
Frangois,
de
savoir bien la
musique,
ni d'avoir de la
voix,
gouit,
de
l'ame,
voix,
et du discernement
pour
donner aux
suivant les diffe-
>Latin music
perfects 'gout'.
It does
sing
French
well,
to know the music
well,
nor
to have a
good
voice. It is still
necessary
to have
'gout', soul,
vocal
flexibility
and
insight
in order to
give
the words their
necessary
like so
his
feelings
point by
first
taking
a
poke
at the
contrasting
Italian
style
when he wrote:
>l'imagination
sembleroit suffire
pour compo-
ser de la
Musique
Italienne: mais
pour
en
composer
de la
Frangoise,
il faut
y
joindre
un
gout exquiss.14
(>imagination
to
compose
Italian
music;
but in order to
compose French,
it is
necessary
to add to that an
exquisite 'gout'?).
Sieur Lambert was
highly praised by
[Lambert]
singing,
even to the
point
of
perfect-
ing
the art
t1
7.
12
de
musique,
des
agr6ments
la
prononciation,
prosodie
de la
16:
de
Musique
doit etre
noble,
les Port-de-voix
marques
&
isensibles,
les
Agr6ments
du Chant
detaches,
les Paroles
& c.<
!(>>The style
of the
'Opera
Francois'
or of the
Royal Academy
of Music must be
noble,
sensitive,
the
is not the
only
acceptable
flourishes. He
goes
on to
say:
>>Le
genre
de
l'Op6ra-Bouffon,
doit etre vif &
lger,
dans
lequel
les
Roulades, Passages,
tours de
Gosiers,
sont les
Agrements
les
plus
of the
be
lively
and
light,
in which
runs, passage
ornaments.c)
13 M. P. de
77.
14
Charles Henri de
de I'art musical ou
Reflexions sur
la
musique
et ses
3-4.
domination of the
as
L'Ecuyer
reasons for most of
these
'>cela vient encore
plus
de ce
que
l'on donne
trop
aux
agrements
& de ce
que
(>>that mostly
comes from
making
thereby sacrificing
the
meaning
for
sounds?).
underlying
thought
which is
very
evident
when
composers
or writers
speak
'of the French
style
of
singing
and that
nobility12
point
of
restraint
(mostly
referred to as 'bon
gofit',
necessary
for a correct
interpretation
of their
music).
Monteclair
expresses
this
quality
in the
following way:
>>La
musique
Latine
perfectionne
la
Science,
et la
Musique
Frangoise
perfectione
le
gout.
I1 ne suffit
pas pour
bien chanter le
Frangois,
de
savoir bien la
musique,
ni d'avoir de la
voix,
gouit,
de
l'ame,
voix,
et du discernement
pour
donner aux
suivant les diffe-
>Latin music
perfects 'gout'.
It does
sing
French
well,
to know the music
well,
nor
to have a
good
voice. It is still
necessary
to have
'gout', soul,
vocal
flexibility
and
insight
in order to
give
the words their
necessary
like so
his
feelings
point by
first
taking
a
poke
at the
contrasting
Italian
style
when he wrote:
>l'imagination
sembleroit suffire
pour compo-
ser de la
Musique
Italienne: mais
pour
en
composer
de la
Frangoise,
il faut
y
joindre
un
gout exquiss.14
(>imagination
to
compose
Italian
music;
but in order to
compose French,
it is
necessary
to add to that an
exquisite 'gout'?).
Sieur Lambert was
highly praised by
[Lambert]
singing,
even to the
point
of
perfect-
ing
the art
t1
7.
12
de
musique,
des
agr6ments
la
prononciation,
prosodie
de la
16:
de
Musique
doit etre
noble,
les Port-de-voix
marques
&
isensibles,
les
Agr6ments
du Chant
detaches,
les Paroles
& c.<
!(>>The style
of the
'Opera
Francois'
or of the
Royal Academy
of Music must be
noble,
sensitive,
the
is not the
only
acceptable
flourishes. He
goes
on to
say:
>>Le
genre
de
l'Op6ra-Bouffon,
doit etre vif &
lger,
dans
lequel
les
Roulades, Passages,
tours de
Gosiers,
sont les
Agrements
les
plus
of the
be
lively
and
light,
in which
runs, passage
ornaments.c)
13 M. P. de
77.
14
Charles Henri de
de I'art musical ou
Reflexions sur
la
musique
et ses
3-4.
domination of the
as
L'Ecuyer
reasons for most of
these
'>cela vient encore
plus
de ce
que
l'on donne
trop
aux
agrements
& de ce
que
(>>that mostly
comes from
making
thereby sacrificing
the
meaning
for
sounds?).
underlying
thought
which is
very
evident
when
composers
or writers
speak
'of the French
style
of
singing
and that
nobility12
point
of
restraint
(mostly
referred to as 'bon
gofit',
necessary
for a correct
interpretation
of their
music).
Monteclair
expresses
this
quality
in the
following way:
>>La
musique
Latine
perfectionne
la
Science,
et la
Musique
Frangoise
perfectione
le
gout.
I1 ne suffit
pas pour
bien chanter le
Frangois,
de
savoir bien la
musique,
ni d'avoir de la
voix,
gouit,
de
l'ame,
voix,
et du discernement
pour
donner aux
suivant les diffe-
>Latin music
perfects 'gout'.
It does
sing
French
well,
to know the music
well,
nor
to have a
good
voice. It is still
necessary
to have
'gout', soul,
vocal
flexibility
and
insight
in order to
give
the words their
necessary
like so
his
feelings
point by
first
taking
a
poke
at the
contrasting
Italian
style
when he wrote:
>l'imagination
sembleroit suffire
pour compo-
ser de la
Musique
Italienne: mais
pour
en
composer
de la
Frangoise,
il faut
y
joindre
un
gout exquiss.14
(>imagination
to
compose
Italian
music;
but in order to
compose French,
it is
necessary
to add to that an
exquisite 'gout'?).
Sieur Lambert was
highly praised by
[Lambert]
singing,
even to the
point
of
perfect-
ing
the art
t1
7.
12
de
musique,
des
agr6ments
la
prononciation,
prosodie
de la
16:
de
Musique
doit etre
noble,
les Port-de-voix
marques
&
isensibles,
les
Agr6ments
du Chant
detaches,
les Paroles
& c.<
!(>>The style
of the
'Opera
Francois'
or of the
Royal Academy
of Music must be
noble,
sensitive,
the
is not the
only
acceptable
flourishes. He
goes
on to
say:
>>Le
genre
de
l'Op6ra-Bouffon,
doit etre vif &
lger,
dans
lequel
les
Roulades, Passages,
tours de
Gosiers,
sont les
Agrements
les
plus
of the
be
lively
and
light,
in which
runs, passage
ornaments.c)
13 M. P. de
77.
14
Charles Henri de
de I'art musical ou
Reflexions sur
la
musique
et ses
3-4.
domination of the
as
L'Ecuyer
reasons for most of
these
'>cela vient encore
plus
de ce
que
l'on donne
trop
aux
agrements
& de ce
que
(>>that mostly
comes from
making
thereby sacrificing
the
meaning
for
sounds?).
underlying
thought
which is
very
evident
when
composers
or writers
speak
'of the French
style
of
singing
and that
nobility12
point
of
restraint
(mostly
referred to as 'bon
gofit',
necessary
for a correct
interpretation
of their
music).
Monteclair
expresses
this
quality
in the
following way:
>>La
musique
Latine
perfectionne
la
Science,
et la
Musique
Frangoise
perfectione
le
gout.
I1 ne suffit
pas pour
bien chanter le
Frangois,
de
savoir bien la
musique,
ni d'avoir de la
voix,
gouit,
de
l'ame,
voix,
et du discernement
pour
donner aux
suivant les diffe-
>Latin music
perfects 'gout'.
It does
sing
French
well,
to know the music
well,
nor
to have a
good
voice. It is still
necessary
to have
'gout', soul,
vocal
flexibility
and
insight
in order to
give
the words their
necessary
like so
his
feelings
point by
first
taking
a
poke
at the
contrasting
Italian
style
when he wrote:
>l'imagination
sembleroit suffire
pour compo-
ser de la
Musique
Italienne: mais
pour
en
composer
de la
Frangoise,
il faut
y
joindre
un
gout exquiss.14
(>imagination
to
compose
Italian
music;
but in order to
compose French,
it is
necessary
to add to that an
exquisite 'gout'?).
Sieur Lambert was
highly praised by
[Lambert]
singing,
even to the
point
of
perfect-
ing
the art
t1
7.
12
de
musique,
des
agr6ments
la
prononciation,
prosodie
de la
16:
de
Musique
doit etre
noble,
les Port-de-voix
marques
&
isensibles,
les
Agr6ments
du Chant
detaches,
les Paroles
& c.<
!(>>The style
of the
'Opera
Francois'
or of the
Royal Academy
of Music must be
noble,
sensitive,
the
is not the
only
acceptable
flourishes. He
goes
on to
say:
>>Le
genre
de
l'Op6ra-Bouffon,
doit etre vif &
lger,
dans
lequel
les
Roulades, Passages,
tours de
Gosiers,
sont les
Agrements
les
plus
of the
be
lively
and
light,
in which
runs, passage
ornaments.c)
13 M. P. de
77.
14
Charles Henri de
de I'art musical ou
Reflexions sur
la
musique
et ses
3-4.
>soit
pour
la finesse & la delicatesse des
ports
de
voix,
des
passages,
des
diminutions,
des
tremblemens,
des tenues,
des mouvemens et de
tous les ornaments du chant
qui peuvent
flater le
plus agreablement
l'oreille,
avec une m6thode
admirable,
& audessus de tout ce
que
les
regles
ordinaires de la
Musique
avoiet
pu
trouver
jusqu'a
ce tems-la
en France.l15
>be it for the
subtlety
and
delicacy
of the
'port
de
voix',
the
passage
notes,
the
diminutions,
the
trills,
the held
notes,
the 'movements' and
all the vocal ornaments which can flatter the ear in the most
agreable
way, by
an admirable method and
furthering
all the
ordinary
rules
of music which had been found until that time in France<.
As for the final ornamented
version,
a
great
deal of the
responsibility
for
portraying
these
expected qualifications
seemed to lie with the
composer.
Le Cerf even feared that listeners would
reject
a
composer
if
he abandoned this usual
reservedness, lor
if he used an overabundance of
flourishes and
thereby
>si le soin de chatouiller leurs
oreilles,
le d6tourne
d'aller a leur coeur.1<6
(>if
the need to tickle their ears diverts it from
going
to their
heart<<). Again,
like
Raparlier,
he continues his
argument by
attesting
that: >Dans la
Musique
des
Opera,
le
badinage
est fade &
gro-
tesque:
dans celle
d'Eglise,
il l'est bien
davantage,
& il est outre cela
impie
et odieux.Al7
(>>In opera music, playfulness
is
pointless
and
grotesque.
In
that of the
church,
it is even more
so,
and furthermore it is
impious
and
odious.<<)
Just as so
many
others
preferred,
he would rather hear a less
ornamented
version,
as
long
as it did not make the
performance dry.
In
some
cases, restraint, though,
can be almost translated into more of a
kind of
tolerance,
than an actual
obligation
tio add
ornaments,
and there-
fore
only
added in order to make it more
interesting
for the
singer.I8
This
tendency
for restraint also can be found in the Dictionnaire
by
the much
disputed
Jean
Jacques Rousseau,
under the
heading
>-
BRODERIES, DOUBLE,
FLEURIS... La vocale
Francoise est fort
retenue sur
les
BRODERIES;
. .. le Chant
Frangois ayant pris
un ton
plus
trainant &
plus
lamentable encore
depuis quelques annees,
ne les
comporte plus.
Les Italiens
s'y
donnent carriere: C'est chez eux a
qui
en fera
davantage;
6mulation
qui
mene
toujours
a en faire
trop.019
>--
EMBELLISHMENTS,
DOUBLES,
FLOURISHES... French vocal
[music]
is
very
reserved about
EMBELLISHMENTS;
... French
song,
15
Pierre BOURDELOT and Pierre BONNET, Histoire de la
musique
et des ses
effets, depuis
son
origine jusqu'd present:
& en
quoi
consiste sa beautY, Tome
I,
Amsterdam, 1715, p.
226.
16
J.-L. LE
CERF, op. cit., p.
64.
17
Ibid.
18
Ibid., pp. 61-62: >Mais de meme
qu'on lui
pardonnera de
s'y
amuser &
d'y
couler un
petit ornament, pourvu que
cela n'aille
pas
au
badinage;
on lui
pardonnera,
&
plus
aisement
encore,
de les
negliger, pourvu que
cela n'aille
pas
a la secheresse.<<
(>But
even if he will be
forgiven
for
having
fun and
adding
a little ornament [here
and
there]
as
long
as it does not
develop
into further
playfulness,
still he will be
pardonned
more
readily
for
neglecting them,
as
long
as that does not become
dry.<)
19
Jean-Jacques RIOUStSEAU,
Dictionnaire de
musique, Paris, 1768, pp. 59-60.
>soit
pour
ports
de
voix,
des
passages,
des
diminutions,
des
tremblemens,
des tenues,
des mouvemens et de
qui peuvent
flater le
plus agreablement
l'oreille,
avec une m6thode
admirable,
que
les
regles
ordinaires de la
Musique
avoiet
pu
trouver
jusqu'a
ce tems-la
en France.l15
>be it for the
subtlety
and
delicacy
of the
'port
de
voix',
the
passage
notes,
the
diminutions,
the
trills,
the held
notes,
the 'movements' and
agreable
way, by
furthering
all the
ordinary
rules
version,
a
great
deal of the
responsibility
for
portraying
these
composer.
reject
a
composer
if
reservedness, lor
flourishes and
thereby
oreilles,
le d6tourne
(>if
going
to their
heart<<). Again,
like
Raparlier,
he continues his
argument by
attesting
that: >Dans la
Musique
des
Opera,
le
badinage
est fade &
gro-
tesque:
dans celle
d'Eglise,
il l'est bien
davantage,
& il est outre cela
impie
et odieux.Al7
is
pointless
and
grotesque.
In
that of the
church,
it is even more
so,
impious
and
odious.<<)
Just as so
many
others
preferred,
ornamented
version,
as
long
performance dry.
In
some
kind of
tolerance,
than an actual
obligation
tio add
ornaments,
and there-
fore
only
interesting
for the
singer.I8
This
tendency
by
the much
disputed
Jean
Jacques Rousseau,
under the
heading
>-
BRODERIES, DOUBLE,
Francoise est fort
retenue sur
les
BRODERIES;
. .. le Chant
Frangois ayant pris
un ton
plus
trainant &
plus
lamentable encore
ne les
comporte plus.
Les Italiens
s'y
qui
en fera
davantage;
6mulation
qui
mene
toujours
a en faire
trop.019
>--
EMBELLISHMENTS,
DOUBLES,
[music]
is
very
reserved about
EMBELLISHMENTS;
... French
song,
15
musique
et des ses
effets, depuis
son
& en
quoi
I,
Amsterdam, 1715, p.
226.
16
J.-L. LE
CERF, op. cit., p.
64.
17
Ibid.
18
qu'on lui
pardonnera de
s'y
amuser &
d'y
couler un
cela n'aille
pas
au
badinage;
on lui
pardonnera,
&
plus
aisement
encore,
de les
cela n'aille
pas
a la secheresse.<<
(>But
even if he will be
forgiven
for
having
fun and
adding
and
there]
as
long
as it does not
develop
into further
playfulness,
still he will be
pardonned
more
readily
for
neglecting them,
as
long
dry.<)
19
Dictionnaire de
>soit
pour
ports
de
voix,
des
passages,
des
diminutions,
des
tremblemens,
des tenues,
des mouvemens et de
qui peuvent
flater le
plus agreablement
l'oreille,
avec une m6thode
admirable,
que
les
regles
ordinaires de la
Musique
avoiet
pu
trouver
jusqu'a
ce tems-la
en France.l15
>be it for the
subtlety
and
delicacy
of the
'port
de
voix',
the
passage
notes,
the
diminutions,
the
trills,
the held
notes,
the 'movements' and
agreable
way, by
furthering
all the
ordinary
rules
version,
a
great
deal of the
responsibility
for
portraying
these
composer.
reject
a
composer
if
reservedness, lor
flourishes and
thereby
oreilles,
le d6tourne
(>if
going
to their
heart<<). Again,
like
Raparlier,
he continues his
argument by
attesting
that: >Dans la
Musique
des
Opera,
le
badinage
est fade &
gro-
tesque:
dans celle
d'Eglise,
il l'est bien
davantage,
& il est outre cela
impie
et odieux.Al7
is
pointless
and
grotesque.
In
that of the
church,
it is even more
so,
impious
and
odious.<<)
Just as so
many
others
preferred,
ornamented
version,
as
long
performance dry.
In
some
kind of
tolerance,
than an actual
obligation
tio add
ornaments,
and there-
fore
only
interesting
for the
singer.I8
This
tendency
by
the much
disputed
Jean
Jacques Rousseau,
under the
heading
>-
BRODERIES, DOUBLE,
Francoise est fort
retenue sur
les
BRODERIES;
. .. le Chant
Frangois ayant pris
un ton
plus
trainant &
plus
lamentable encore
ne les
comporte plus.
Les Italiens
s'y
qui
en fera
davantage;
6mulation
qui
mene
toujours
a en faire
trop.019
>--
EMBELLISHMENTS,
DOUBLES,
[music]
is
very
reserved about
EMBELLISHMENTS;
... French
song,
15
musique
et des ses
effets, depuis
son
& en
quoi
I,
Amsterdam, 1715, p.
226.
16
J.-L. LE
CERF, op. cit., p.
64.
17
Ibid.
18
qu'on lui
pardonnera de
s'y
amuser &
d'y
couler un
cela n'aille
pas
au
badinage;
on lui
pardonnera,
&
plus
aisement
encore,
de les
cela n'aille
pas
a la secheresse.<<
(>But
even if he will be
forgiven
for
having
fun and
adding
and
there]
as
long
as it does not
develop
into further
playfulness,
still he will be
pardonned
more
readily
for
neglecting them,
as
long
dry.<)
19
Dictionnaire de
>soit
pour
ports
de
voix,
des
passages,
des
diminutions,
des
tremblemens,
des tenues,
des mouvemens et de
qui peuvent
flater le
plus agreablement
l'oreille,
avec une m6thode
admirable,
que
les
regles
ordinaires de la
Musique
avoiet
pu
trouver
jusqu'a
ce tems-la
en France.l15
>be it for the
subtlety
and
delicacy
of the
'port
de
voix',
the
passage
notes,
the
diminutions,
the
trills,
the held
notes,
the 'movements' and
agreable
way, by
furthering
all the
ordinary
rules
version,
a
great
deal of the
responsibility
for
portraying
these
composer.
reject
a
composer
if
reservedness, lor
flourishes and
thereby
oreilles,
le d6tourne
(>if
going
to their
heart<<). Again,
like
Raparlier,
he continues his
argument by
attesting
that: >Dans la
Musique
des
Opera,
le
badinage
est fade &
gro-
tesque:
dans celle
d'Eglise,
il l'est bien
davantage,
& il est outre cela
impie
et odieux.Al7
is
pointless
and
grotesque.
In
that of the
church,
it is even more
so,
impious
and
odious.<<)
Just as so
many
others
preferred,
ornamented
version,
as
long
performance dry.
In
some
kind of
tolerance,
than an actual
obligation
tio add
ornaments,
and there-
fore
only
interesting
for the
singer.I8
This
tendency
by
the much
disputed
Jean
Jacques Rousseau,
under the
heading
>-
BRODERIES, DOUBLE,
Francoise est fort
retenue sur
les
BRODERIES;
. .. le Chant
Frangois ayant pris
un ton
plus
trainant &
plus
lamentable encore
ne les
comporte plus.
Les Italiens
s'y
qui
en fera
davantage;
6mulation
qui
mene
toujours
a en faire
trop.019
>--
EMBELLISHMENTS,
DOUBLES,
[music]
is
very
reserved about
EMBELLISHMENTS;
... French
song,
15
musique
et des ses
effets, depuis
son
& en
quoi
I,
Amsterdam, 1715, p.
226.
16
J.-L. LE
CERF, op. cit., p.
64.
17
Ibid.
18
qu'on lui
pardonnera de
s'y
amuser &
d'y
couler un
cela n'aille
pas
au
badinage;
on lui
pardonnera,
&
plus
aisement
encore,
de les
cela n'aille
pas
a la secheresse.<<
(>But
even if he will be
forgiven
for
having
fun and
adding
and
there]
as
long
as it does not
develop
into further
playfulness,
still he will be
pardonned
more
readily
for
neglecting them,
as
long
dry.<)
19
Dictionnaire de
>soit
pour
ports
de
voix,
des
passages,
des
diminutions,
des
tremblemens,
des tenues,
des mouvemens et de
qui peuvent
flater le
plus agreablement
l'oreille,
avec une m6thode
admirable,
que
les
regles
ordinaires de la
Musique
avoiet
pu
trouver
jusqu'a
ce tems-la
en France.l15
>be it for the
subtlety
and
delicacy
of the
'port
de
voix',
the
passage
notes,
the
diminutions,
the
trills,
the held
notes,
the 'movements' and
agreable
way, by
furthering
all the
ordinary
rules
version,
a
great
deal of the
responsibility
for
portraying
these
composer.
reject
a
composer
if
reservedness, lor
flourishes and
thereby
oreilles,
le d6tourne
(>if
going
to their
heart<<). Again,
like
Raparlier,
he continues his
argument by
attesting
that: >Dans la
Musique
des
Opera,
le
badinage
est fade &
gro-
tesque:
dans celle
d'Eglise,
il l'est bien
davantage,
& il est outre cela
impie
et odieux.Al7
is
pointless
and
grotesque.
In
that of the
church,
it is even more
so,
impious
and
odious.<<)
Just as so
many
others
preferred,
ornamented
version,
as
long
performance dry.
In
some
kind of
tolerance,
than an actual
obligation
tio add
ornaments,
and there-
fore
only
interesting
for the
singer.I8
This
tendency
by
the much
disputed
Jean
Jacques Rousseau,
under the
heading
>-
BRODERIES, DOUBLE,
Francoise est fort
retenue sur
les
BRODERIES;
. .. le Chant
Frangois ayant pris
un ton
plus
trainant &
plus
lamentable encore
ne les
comporte plus.
Les Italiens
s'y
qui
en fera
davantage;
6mulation
qui
mene
toujours
a en faire
trop.019
>--
EMBELLISHMENTS,
DOUBLES,
[music]
is
very
reserved about
EMBELLISHMENTS;
... French
song,
15
musique
et des ses
effets, depuis
son
& en
quoi
I,
Amsterdam, 1715, p.
226.
16
J.-L. LE
CERF, op. cit., p.
64.
17
Ibid.
18
qu'on lui
pardonnera de
s'y
amuser &
d'y
couler un
cela n'aille
pas
au
badinage;
on lui
pardonnera,
&
plus
aisement
encore,
de les
cela n'aille
pas
a la secheresse.<<
(>But
even if he will be
forgiven
for
having
fun and
adding
and
there]
as
long
as it does not
develop
into further
playfulness,
still he will be
pardonned
more
readily
for
neglecting them,
as
long
dry.<)
19
Dictionnaire de
>soit
pour
ports
de
voix,
des
passages,
des
diminutions,
des
tremblemens,
des tenues,
des mouvemens et de
qui peuvent
flater le
plus agreablement
l'oreille,
avec une m6thode
admirable,
que
les
regles
ordinaires de la
Musique
avoiet
pu
trouver
jusqu'a
ce tems-la
en France.l15
>be it for the
subtlety
and
delicacy
of the
'port
de
voix',
the
passage
notes,
the
diminutions,
the
trills,
the held
notes,
the 'movements' and
agreable
way, by
furthering
all the
ordinary
rules
version,
a
great
deal of the
responsibility
for
portraying
these
composer.
reject
a
composer
if
reservedness, lor
flourishes and
thereby
oreilles,
le d6tourne
(>if
going
to their
heart<<). Again,
like
Raparlier,
he continues his
argument by
attesting
that: >Dans la
Musique
des
Opera,
le
badinage
est fade &
gro-
tesque:
dans celle
d'Eglise,
il l'est bien
davantage,
& il est outre cela
impie
et odieux.Al7
is
pointless
and
grotesque.
In
that of the
church,
it is even more
so,
impious
and
odious.<<)
Just as so
many
others
preferred,
ornamented
version,
as
long
performance dry.
In
some
kind of
tolerance,
than an actual
obligation
tio add
ornaments,
and there-
fore
only
interesting
for the
singer.I8
This
tendency
by
the much
disputed
Jean
Jacques Rousseau,
under the
heading
>-
BRODERIES, DOUBLE,
Francoise est fort
retenue sur
les
BRODERIES;
. .. le Chant
Frangois ayant pris
un ton
plus
trainant &
plus
lamentable encore
ne les
comporte plus.
Les Italiens
s'y
qui
en fera
davantage;
6mulation
qui
mene
toujours
a en faire
trop.019
>--
EMBELLISHMENTS,
DOUBLES,
[music]
is
very
reserved about
EMBELLISHMENTS;
... French
song,
15
musique
et des ses
effets, depuis
son
& en
quoi
I,
Amsterdam, 1715, p.
226.
16
J.-L. LE
CERF, op. cit., p.
64.
17
Ibid.
18
qu'on lui
pardonnera de
s'y
amuser &
d'y
couler un
cela n'aille
pas
au
badinage;
on lui
pardonnera,
&
plus
aisement
encore,
de les
cela n'aille
pas
a la secheresse.<<
(>But
even if he will be
forgiven
for
having
fun and
adding
and
there]
as
long
as it does not
develop
into further
playfulness,
still he will be
pardonned
more
readily
for
neglecting them,
as
long
dry.<)
19
Dictionnaire de
77 77 77 77 77 77
78 E. HEHR, FRENCH VIEW OF 18TH-CENT. SINGING STYLES, IRASM 16 (1985), 1,73-85 78 E. HEHR, FRENCH VIEW OF 18TH-CENT. SINGING STYLES, IRASM 16 (1985), 1,73-85 78 E. HEHR, FRENCH VIEW OF 18TH-CENT. SINGING STYLES, IRASM 16 (1985), 1,73-85 78 E. HEHR, FRENCH VIEW OF 18TH-CENT. SINGING STYLES, IRASM 16 (1985), 1,73-85 78 E. HEHR, FRENCH VIEW OF 18TH-CENT. SINGING STYLES, IRASM 16 (1985), 1,73-85 78 E. HEHR, FRENCH VIEW OF 18TH-CENT. SINGING STYLES, IRASM 16 (1985), 1,73-85
which has become more
dragging
and more woeful for several
years
now,
does not allow them
anymore.
The Italians make a carrer out of
them. It is there
[Italy]
that one uses
many more;
a
competition
which
always
leads to
doing
more than
necessary.<
Nevertheless,
this restraint could be carried too far at
times,
as
suggests
Raguenet
in his Parallele when he accuses the French music of a certain
monotony.20
As shall be
explained later,
in this
respect
Italian
performances
could never be
boring
in
comparison.
The Italian extrovert vocal
displays
so admonished
by
the French
were not
completely rejected,
as
suggests
Blainville. Yet his
pride
in
French
musicianship did, however,
take a rather
haughty
view of the
differences when he wrote:
>Notre
genre
est
simple, naif,
ferme &
vigoureux;
le
genre
Italien a
des beautes
d'expression,
des finesses
d'agrement que
nous
pouvons
acquerir,
voila les
fleurs;
c'est a nous de les
cueillir,
sans
perdre
de
vue
que
nous sommes
Frangois.-<21
>,Our
style
is
simple, naive, strong
and
vigorous.
The Italian
style
has
expressive beauties,
subtleties of ornamentation
[all
of] which we can
acquire.
These are the flowers. It is
up
to
us
to
pick
them without
losing sight
of the fact that we are French.<
To
him,
the
'grand
art du chant' was not to show off the
voice,
but instead
to make it
worthy
of what was
being
sung.
>Le
grand
art du chant ne consiste
pas
tant a faire briller la
voix, qu'a
donner aux sons une
ame,
des
inflexions,
un caractere convenable au
sujet.
Car ne chanter
que pour
la
voix,
c'est ne
parler qu'a l'ouie;
mais
nuancer le son de la voix du foible au
fort, y repandre
un caractere
triste ou
gai,
sombre ou
vehement, ajouter
les
inflexions,
les
agremens
convenables aux diverses
expressions, augmenter
ces beautes
par
l'ensemble du
geste;
de
fagon que
l'auditeur
regoive l'impression
du
sujet,
a ne le
prendre que pour
ce
qu'il
doit etre.
Voila, je crois,
le
vrai art du chant.<22
.The fine art of
singing
does not consist so much in
making
the voice
sparkle
as in
giving
the sounds a
soul, inflections,
a character
suiting
the
subject.
Because to
sing
for the sake of the voice is like
only
talking
for the
hearing;
but to make vocal nuances from weak to
strong,
to exhibit a sad or
gay character, gloomy
or
vehement,
to add
inflections,
the
right
ornaments for various
expressions, [and thereby]
to increase these beauties
by
the whole
gesture,
in a
way
that
the
20
L'Abbe
Francois RAGUENET,
Parallele des italiens et des
frangois
en ce
qui
regarde
la
musique
et les
opera, Paris, 1702, pp.
60--61: En France... ce sont toi-
jours
les memes accords,
les memes
chutes,
nulle
variete,
nulle
surprise,
on
y prevoit
tout.c
(>In
France... there are
always
the same
chords,
the same
descents,
no
variety,
no
surprise; everything
is foreseen.<)
21 Ch. H. de
BLAILNVILLE, op. cit., p.
19.
22
Ibid., p.
118.
dragging
years
now,
does not allow them
anymore.
them. It is there
[Italy]
that one uses
many more;
a
competition
which
always
leads to
doing
more than
necessary.<
Nevertheless,
times,
as
suggests
Raguenet
monotony.20
As shall be
explained later,
in this
respect
Italian
performances
could never be
boring
in
comparison.
displays
so admonished
by
the French
were not
as
suggests
Blainville. Yet his
pride
in
French
take a rather
haughty
view of the
>Notre
genre
est
simple, naif,
ferme &
vigoureux;
le
genre
Italien a
des beautes
d'expression,
des finesses
d'agrement que
nous
pouvons
acquerir,
voila les
fleurs;
c'est a nous de les
cueillir,
sans
perdre
de
vue
que
nous sommes
Frangois.-<21
>,Our
style
is
and
vigorous.
The Italian
style
has
[all
of] which we can
acquire.
up
to
us
to
pick
them without
losing sight
To
him,
the
'grand
voice,
but instead
to make it
worthy
of what was
being
sung.
>Le
grand
pas
voix, qu'a
donner aux sons une
ame,
des
inflexions,
sujet.
Car ne chanter
que pour
la
voix,
c'est ne
parler qu'a l'ouie;
mais
fort, y repandre
un caractere
triste ou
gai,
sombre ou
vehement, ajouter
les
inflexions,
les
agremens
ces beautes
par
l'ensemble du
geste;
de
fagon que
l'auditeur
du
sujet,
a ne le
prendre que pour
ce
qu'il
doit etre.
Voila, je crois,
le
.The fine art of
singing
making
the voice
sparkle
as in
giving
the sounds a
soul, inflections,
a character
suiting
the
subject.
Because to
sing
only
talking
for the
hearing;
strong,
to exhibit a sad or
or
vehement,
to add
inflections,
the
right
by
the whole
gesture,
in a
way
that
the
20
L'Abbe
Francois RAGUENET,
frangois
en ce
qui
regarde
la
musique
et les
jours
les memes accords,
les memes
chutes,
nulle
variete,
nulle
surprise,
on
y prevoit
tout.c
(>In
France... there are
always
the same
chords,
the same
descents,
no
variety,
no
is foreseen.<)
21 Ch. H. de
19.
22
Ibid., p.
118.
dragging
years
now,
does not allow them
anymore.
them. It is there
[Italy]
that one uses
many more;
a
competition
which
always
leads to
doing
more than
necessary.<
Nevertheless,
times,
as
suggests
Raguenet
monotony.20
As shall be
explained later,
in this
respect
Italian
performances
could never be
boring
in
comparison.
displays
so admonished
by
the French
were not
as
suggests
Blainville. Yet his
pride
in
French
take a rather
haughty
view of the
>Notre
genre
est
simple, naif,
ferme &
vigoureux;
le
genre
Italien a
des beautes
d'expression,
des finesses
d'agrement que
nous
pouvons
acquerir,
voila les
fleurs;
c'est a nous de les
cueillir,
sans
perdre
de
vue
que
nous sommes
Frangois.-<21
>,Our
style
is
and
vigorous.
The Italian
style
has
[all
of] which we can
acquire.
up
to
us
to
pick
them without
losing sight
To
him,
the
'grand
voice,
but instead
to make it
worthy
of what was
being
sung.
>Le
grand
pas
voix, qu'a
donner aux sons une
ame,
des
inflexions,
sujet.
Car ne chanter
que pour
la
voix,
c'est ne
parler qu'a l'ouie;
mais
fort, y repandre
un caractere
triste ou
gai,
sombre ou
vehement, ajouter
les
inflexions,
les
agremens
ces beautes
par
l'ensemble du
geste;
de
fagon que
l'auditeur
du
sujet,
a ne le
prendre que pour
ce
qu'il
doit etre.
Voila, je crois,
le
.The fine art of
singing
making
the voice
sparkle
as in
giving
the sounds a
soul, inflections,
a character
suiting
the
subject.
Because to
sing
only
talking
for the
hearing;
strong,
to exhibit a sad or
or
vehement,
to add
inflections,
the
right
by
the whole
gesture,
in a
way
that
the
20
L'Abbe
Francois RAGUENET,
frangois
en ce
qui
regarde
la
musique
et les
jours
les memes accords,
les memes
chutes,
nulle
variete,
nulle
surprise,
on
y prevoit
tout.c
(>In
France... there are
always
the same
chords,
the same
descents,
no
variety,
no
is foreseen.<)
21 Ch. H. de
19.
22
Ibid., p.
118.
dragging
years
now,
does not allow them
anymore.
them. It is there
[Italy]
that one uses
many more;
a
competition
which
always
leads to
doing
more than
necessary.<
Nevertheless,
times,
as
suggests
Raguenet
monotony.20
As shall be
explained later,
in this
respect
Italian
performances
could never be
boring
in
comparison.
displays
so admonished
by
the French
were not
as
suggests
Blainville. Yet his
pride
in
French
take a rather
haughty
view of the
>Notre
genre
est
simple, naif,
ferme &
vigoureux;
le
genre
Italien a
des beautes
d'expression,
des finesses
d'agrement que
nous
pouvons
acquerir,
voila les
fleurs;
c'est a nous de les
cueillir,
sans
perdre
de
vue
que
nous sommes
Frangois.-<21
>,Our
style
is
and
vigorous.
The Italian
style
has
[all
of] which we can
acquire.
up
to
us
to
pick
them without
losing sight
To
him,
the
'grand
voice,
but instead
to make it
worthy
of what was
being
sung.
>Le
grand
pas
voix, qu'a
donner aux sons une
ame,
des
inflexions,
sujet.
Car ne chanter
que pour
la
voix,
c'est ne
parler qu'a l'ouie;
mais
fort, y repandre
un caractere
triste ou
gai,
sombre ou
vehement, ajouter
les
inflexions,
les
agremens
ces beautes
par
l'ensemble du
geste;
de
fagon que
l'auditeur
du
sujet,
a ne le
prendre que pour
ce
qu'il
doit etre.
Voila, je crois,
le
.The fine art of
singing
making
the voice
sparkle
as in
giving
the sounds a
soul, inflections,
a character
suiting
the
subject.
Because to
sing
only
talking
for the
hearing;
strong,
to exhibit a sad or
or
vehement,
to add
inflections,
the
right
by
the whole
gesture,
in a
way
that
the
20
L'Abbe
Francois RAGUENET,
frangois
en ce
qui
regarde
la
musique
et les
jours
les memes accords,
les memes
chutes,
nulle
variete,
nulle
surprise,
on
y prevoit
tout.c
(>In
France... there are
always
the same
chords,
the same
descents,
no
variety,
no
is foreseen.<)
21 Ch. H. de
19.
22
Ibid., p.
118.
dragging
years
now,
does not allow them
anymore.
them. It is there
[Italy]
that one uses
many more;
a
competition
which
always
leads to
doing
more than
necessary.<
Nevertheless,
times,
as
suggests
Raguenet
monotony.20
As shall be
explained later,
in this
respect
Italian
performances
could never be
boring
in
comparison.
displays
so admonished
by
the French
were not
as
suggests
Blainville. Yet his
pride
in
French
take a rather
haughty
view of the
>Notre
genre
est
simple, naif,
ferme &
vigoureux;
le
genre
Italien a
des beautes
d'expression,
des finesses
d'agrement que
nous
pouvons
acquerir,
voila les
fleurs;
c'est a nous de les
cueillir,
sans
perdre
de
vue
que
nous sommes
Frangois.-<21
>,Our
style
is
and
vigorous.
The Italian
style
has
[all
of] which we can
acquire.
up
to
us
to
pick
them without
losing sight
To
him,
the
'grand
voice,
but instead
to make it
worthy
of what was
being
sung.
>Le
grand
pas
voix, qu'a
donner aux sons une
ame,
des
inflexions,
sujet.
Car ne chanter
que pour
la
voix,
c'est ne
parler qu'a l'ouie;
mais
fort, y repandre
un caractere
triste ou
gai,
sombre ou
vehement, ajouter
les
inflexions,
les
agremens
ces beautes
par
l'ensemble du
geste;
de
fagon que
l'auditeur
du
sujet,
a ne le
prendre que pour
ce
qu'il
doit etre.
Voila, je crois,
le
.The fine art of
singing
making
the voice
sparkle
as in
giving
the sounds a
soul, inflections,
a character
suiting
the
subject.
Because to
sing
only
talking
for the
hearing;
strong,
to exhibit a sad or
or
vehement,
to add
inflections,
the
right
by
the whole
gesture,
in a
way
that
the
20
L'Abbe
Francois RAGUENET,
frangois
en ce
qui
regarde
la
musique
et les
jours
les memes accords,
les memes
chutes,
nulle
variete,
nulle
surprise,
on
y prevoit
tout.c
(>In
France... there are
always
the same
chords,
the same
descents,
no
variety,
no
is foreseen.<)
21 Ch. H. de
19.
22
Ibid., p.
118.
dragging
years
now,
does not allow them
anymore.
them. It is there
[Italy]
that one uses
many more;
a
competition
which
always
leads to
doing
more than
necessary.<
Nevertheless,
times,
as
suggests
Raguenet
monotony.20
As shall be
explained later,
in this
respect
Italian
performances
could never be
boring
in
comparison.
displays
so admonished
by
the French
were not
as
suggests
Blainville. Yet his
pride
in
French
take a rather
haughty
view of the
>Notre
genre
est
simple, naif,
ferme &
vigoureux;
le
genre
Italien a
des beautes
d'expression,
des finesses
d'agrement que
nous
pouvons
acquerir,
voila les
fleurs;
c'est a nous de les
cueillir,
sans
perdre
de
vue
que
nous sommes
Frangois.-<21
>,Our
style
is
and
vigorous.
The Italian
style
has
[all
of] which we can
acquire.
up
to
us
to
pick
them without
losing sight
To
him,
the
'grand
voice,
but instead
to make it
worthy
of what was
being
sung.
>Le
grand
pas
voix, qu'a
donner aux sons une
ame,
des
inflexions,
sujet.
Car ne chanter
que pour
la
voix,
c'est ne
parler qu'a l'ouie;
mais
fort, y repandre
un caractere
triste ou
gai,
sombre ou
vehement, ajouter
les
inflexions,
les
agremens
ces beautes
par
l'ensemble du
geste;
de
fagon que
l'auditeur
du
sujet,
a ne le
prendre que pour
ce
qu'il
doit etre.
Voila, je crois,
le
.The fine art of
singing
making
the voice
sparkle
as in
giving
the sounds a
soul, inflections,
a character
suiting
the
subject.
Because to
sing
only
talking
for the
hearing;
strong,
to exhibit a sad or
or
vehement,
to add
inflections,
the
right
by
the whole
gesture,
in a
way
that
the
20
L'Abbe
Francois RAGUENET,
frangois
en ce
qui
regarde
la
musique
et les
jours
les memes accords,
les memes
chutes,
nulle
variete,
nulle
surprise,
on
y prevoit
tout.c
(>In
France... there are
always
the same
chords,
the same
descents,
no
variety,
no
is foreseen.<)
21 Ch. H. de
19.
22
Ibid., p.
118.
(1985), 1, 73-85 E. HEHR, FRENCH VIEW OF 18TH-CENT. SINGING STYLES, IRASM 16
(1985), 1, 73-85
listener
only gets
the
right impression
of the
subject
and takes it
only
for what it should
be;
there I
believe,
is the true art of
singing.*<
In
essence,
that was the ultimate
perfection
towards which to
strive.
Perhaps
the most
amusing
tendency
found in
many
French
accounts
is a
strange
kind of love/hate attitude for both the Italian as well as
their
own
styles. Again Raguenet provides
a
good
insight
into this:
>>Les Musiciens
Francois
se croiroient
perdus
s'ils faisoient la moindre
chose contres les
regles,
ils
flatent, chatoiiillent, respectent l'oreille,
& tremblent encore dans la crainte de ne
pas
reussir
apres
avoir
fait
les choses dans toute la
regularite possible;
les Italiens
plus
hardis
changent brusquement
de ton & de
mode;
font des cadences doublees
de 7 & de 8 mesures sur des tons
que
nous ne croirions
pas capables
de
porter
le moindre
tremblement;
ils font des
Tenues d'une
longeur
si
prodigieuse, que
ceux
qui n'y
sont
pas
accouitumez ne sauroient s'em-
pecher
d'estre d'abord
indignez
de cette hardiesse
que
dans la suite
on croit ne
pouvoir jamais
assez
admirer;
ils font
des
passages
d'une
etendiie
qui
confond tous ceux
qui
les entendent
pour
la
premiere
fois.,<23
,>French musicians believe themselves lost if
they
do the
slightest
thing contrary
to the rules.
They caress, tickle, respect
the ear and
still
[they]
tremble with fear that
they
will not succeed even after
having
done
things
as
correctly
as
possible.
The
Italians,
more
bold,
suddenly change
the note and the mode and make double and re-
doubled trills of 7 and 8 measures
upon
notes which we would not
even believe suitable for the
slightest
trill.
They
hold notes of such
a
prodigious length
that those who are not accustomed to
them,
first
of all cannot
help being
offended
by
such boldness which sub-
sequently they
cannot seem to
praise enough. They
make such
lengthy
melismas that those
hearing
them for the first time become confused.<:
Both this kind of vocal fireworks and dissonances innate to the Italian
music
prove
to be the
prime targets upon
numerous occasions for French
writers.24 Even
instrumentalists
join
in on the attack as can be
exemplified
23
F.
RAGUENET, op. cit., pp.
32-33.
24
Ibid., pp.
39-40:
?Qu'on donne une de ces dissonances a chanter a un
Frangois,
il n'aura
jamais
la force de la soutenir avec la fermete dont il faut
qu'elle
soit
soutenue,
afin
qu'elle
reiississe;
son oreille accoutumee aux consonances les
plus
douces & les
plus
natu-
relies
est
choqu6e
de son
irregularite, il tremble en la
chantant,
il
chancelle;
au lieu
que
les Italiens dont l'oreille est
rompuie
de
jeunesse
a ces
dissonances,
&
y
a tte
accoutumee
par
la force de
l'habitude,
sont fermes sur le ton le
plus irregulier, que
sur la
plus
belle corde du
monde,
& chantent tout avec une hardiesse
& une assu-
rance
qui
les fait toujours reiissir.<
I(fIf one
gives one of these dissonances to a
Frenchman to
sing,
he will never have the
force
to sustain it
firmly
which
[is what]
it needs to make it successful. His ear
being accustomed to the sweetest and the most
natural consonances is shocked
by
the
irregularity.
He trembles when
singing it;
he
wavers.
Whereas,
the Italians whose ears are
experienced
since childhood with these
dissonances and were ttherefore used to them
by
force of
habit,
are as firm on the
most
irregular
note as on the world's loveliest chord and
sing
them all with a bold-
ness and assurance which makes them
always succeed.o)
listener
only gets
the
right impression
of the
subject
and takes it
only
for what it should
be;
there I
believe,
is the true art of
singing.*<
In
essence,
perfection
towards which to
strive.
Perhaps
the most
amusing
tendency
found in
many
French
accounts
is a
strange
their
own
a
good
insight
into this:
>>Les Musiciens
Francois
se croiroient
perdus
chose contres les
regles,
ils
pas
reussir
apres
avoir
fait
les Italiens
plus
hardis
de ton & de
mode;
que
nous ne croirions
pas capables
de
porter
le moindre
tremblement;
ils font des
Tenues d'une
longeur
si
prodigieuse, que
ceux
qui n'y
sont
pas
pecher
d'estre d'abord
indignez
de cette hardiesse
que
dans la suite
on croit ne
pouvoir jamais
assez
admirer;
ils font
des
passages
d'une
etendiie
qui
confond tous ceux
qui
les entendent
pour
la
premiere
fois.,<23
they
do the
slightest
thing contrary
to the rules.
the ear and
still
[they]
they
having
done
things
as
correctly
as
possible.
The
Italians,
more
bold,
suddenly change
upon
slightest
trill.
They
hold notes of such
a
prodigious length
them,
first
of all cannot
help being
offended
by
sequently they
cannot seem to
praise enough. They
make such
lengthy
melismas that those
hearing
music
prove
to be the
prime targets upon
writers.24 Even
instrumentalists
join
exemplified
23
F.
32-33.
24
Ibid., pp.
39-40:
Frangois,
il n'aura
jamais
qu'elle
soit
soutenue,
afin
qu'elle
reiississe;
plus
douces & les
plus
natu-
relies
est
choqu6e
de son
chantant,
il
chancelle;
au lieu
que
rompuie
de
jeunesse
a ces
dissonances,
&
y
a tte
accoutumee
par
la force de
l'habitude,
sur la
plus
belle corde du
monde,
& une assu-
rance
qui
I(fIf one
Frenchman to
sing,
force
to sustain it
firmly
which
[is what]
by
the
irregularity.
He trembles when
singing it;
he
wavers.
Whereas,
experienced
by
force of
habit,
are as firm on the
most
irregular
sing
always succeed.o)
listener
only gets
the
right impression
of the
subject
and takes it
only
for what it should
be;
there I
believe,
is the true art of
singing.*<
In
essence,
perfection
towards which to
strive.
Perhaps
the most
amusing
tendency
found in
many
French
accounts
is a
strange
their
own
a
good
insight
into this:
>>Les Musiciens
Francois
se croiroient
perdus
chose contres les
regles,
ils
pas
reussir
apres
avoir
fait
les Italiens
plus
hardis
de ton & de
mode;
que
nous ne croirions
pas capables
de
porter
le moindre
tremblement;
ils font des
Tenues d'une
longeur
si
prodigieuse, que
ceux
qui n'y
sont
pas
pecher
d'estre d'abord
indignez
de cette hardiesse
que
dans la suite
on croit ne
pouvoir jamais
assez
admirer;
ils font
des
passages
d'une
etendiie
qui
confond tous ceux
qui
les entendent
pour
la
premiere
fois.,<23
they
do the
slightest
thing contrary
to the rules.
the ear and
still
[they]
they
having
done
things
as
correctly
as
possible.
The
Italians,
more
bold,
suddenly change
upon
slightest
trill.
They
hold notes of such
a
prodigious length
them,
first
of all cannot
help being
offended
by
sequently they
cannot seem to
praise enough. They
make such
lengthy
melismas that those
hearing
music
prove
to be the
prime targets upon
writers.24 Even
instrumentalists
join
exemplified
23
F.
32-33.
24
Ibid., pp.
39-40:
Frangois,
il n'aura
jamais
qu'elle
soit
soutenue,
afin
qu'elle
reiississe;
plus
douces & les
plus
natu-
relies
est
choqu6e
de son
chantant,
il
chancelle;
au lieu
que
rompuie
de
jeunesse
a ces
dissonances,
&
y
a tte
accoutumee
par
la force de
l'habitude,
sur la
plus
belle corde du
monde,
& une assu-
rance
qui
I(fIf one
Frenchman to
sing,
force
to sustain it
firmly
which
[is what]
by
the
irregularity.
He trembles when
singing it;
he
wavers.
Whereas,
experienced
by
force of
habit,
are as firm on the
most
irregular
sing
always succeed.o)
listener
only gets
the
right impression
of the
subject
and takes it
only
for what it should
be;
there I
believe,
is the true art of
singing.*<
In
essence,
perfection
towards which to
strive.
Perhaps
the most
amusing
tendency
found in
many
French
accounts
is a
strange
their
own
a
good
insight
into this:
>>Les Musiciens
Francois
se croiroient
perdus
chose contres les
regles,
ils
pas
reussir
apres
avoir
fait
les Italiens
plus
hardis
de ton & de
mode;
que
nous ne croirions
pas capables
de
porter
le moindre
tremblement;
ils font des
Tenues d'une
longeur
si
prodigieuse, que
ceux
qui n'y
sont
pas
pecher
d'estre d'abord
indignez
de cette hardiesse
que
dans la suite
on croit ne
pouvoir jamais
assez
admirer;
ils font
des
passages
d'une
etendiie
qui
confond tous ceux
qui
les entendent
pour
la
premiere
fois.,<23
they
do the
slightest
thing contrary
to the rules.
the ear and
still
[they]
they
having
done
things
as
correctly
as
possible.
The
Italians,
more
bold,
suddenly change
upon
slightest
trill.
They
hold notes of such
a
prodigious length
them,
first
of all cannot
help being
offended
by
sequently they
cannot seem to
praise enough. They
make such
lengthy
melismas that those
hearing
music
prove
to be the
prime targets upon
writers.24 Even
instrumentalists
join
exemplified
23
F.
32-33.
24
Ibid., pp.
39-40:
Frangois,
il n'aura
jamais
qu'elle
soit
soutenue,
afin
qu'elle
reiississe;
plus
douces & les
plus
natu-
relies
est
choqu6e
de son
chantant,
il
chancelle;
au lieu
que
rompuie
de
jeunesse
a ces
dissonances,
&
y
a tte
accoutumee
par
la force de
l'habitude,
sur la
plus
belle corde du
monde,
& une assu-
rance
qui
I(fIf one
Frenchman to
sing,
force
to sustain it
firmly
which
[is what]
by
the
irregularity.
He trembles when
singing it;
he
wavers.
Whereas,
experienced
by
force of
habit,
are as firm on the
most
irregular
sing
always succeed.o)
listener
only gets
the
right impression
of the
subject
and takes it
only
for what it should
be;
there I
believe,
is the true art of
singing.*<
In
essence,
perfection
towards which to
strive.
Perhaps
the most
amusing
tendency
found in
many
French
accounts
is a
strange
their
own
a
good
insight
into this:
>>Les Musiciens
Francois
se croiroient
perdus
chose contres les
regles,
ils
pas
reussir
apres
avoir
fait
les Italiens
plus
hardis
de ton & de
mode;
que
nous ne croirions
pas capables
de
porter
le moindre
tremblement;
ils font des
Tenues d'une
longeur
si
prodigieuse, que
ceux
qui n'y
sont
pas
pecher
d'estre d'abord
indignez
de cette hardiesse
que
dans la suite
on croit ne
pouvoir jamais
assez
admirer;
ils font
des
passages
d'une
etendiie
qui
confond tous ceux
qui
les entendent
pour
la
premiere
fois.,<23
they
do the
slightest
thing contrary
to the rules.
the ear and
still
[they]
they
having
done
things
as
correctly
as
possible.
The
Italians,
more
bold,
suddenly change
upon
slightest
trill.
They
hold notes of such
a
prodigious length
them,
first
of all cannot
help being
offended
by
sequently they
cannot seem to
praise enough. They
make such
lengthy
melismas that those
hearing
music
prove
to be the
prime targets upon
writers.24 Even
instrumentalists
join
exemplified
23
F.
32-33.
24
Ibid., pp.
39-40:
Frangois,
il n'aura
jamais
qu'elle
soit
soutenue,
afin
qu'elle
reiississe;
plus
douces & les
plus
natu-
relies
est
choqu6e
de son
chantant,
il
chancelle;
au lieu
que
rompuie
de
jeunesse
a ces
dissonances,
&
y
a tte
accoutumee
par
la force de
l'habitude,
sur la
plus
belle corde du
monde,
& une assu-
rance
qui
I(fIf one
Frenchman to
sing,
force
to sustain it
firmly
which
[is what]
by
the
irregularity.
He trembles when
singing it;
he
wavers.
Whereas,
experienced
by
force of
habit,
are as firm on the
most
irregular
sing
always succeed.o)
listener
only gets
the
right impression
of the
subject
and takes it
only
for what it should
be;
there I
believe,
is the true art of
singing.*<
In
essence,
perfection
towards which to
strive.
Perhaps
the most
amusing
tendency
found in
many
French
accounts
is a
strange
their
own
a
good
insight
into this:
>>Les Musiciens
Francois
se croiroient
perdus
chose contres les
regles,
ils
pas
reussir
apres
avoir
fait
les Italiens
plus
hardis
de ton & de
mode;
que
nous ne croirions
pas capables
de
porter
le moindre
tremblement;
ils font des
Tenues d'une
longeur
si
prodigieuse, que
ceux
qui n'y
sont
pas
pecher
d'estre d'abord
indignez
de cette hardiesse
que
dans la suite
on croit ne
pouvoir jamais
assez
admirer;
ils font
des
passages
d'une
etendiie
qui
confond tous ceux
qui
les entendent
pour
la
premiere
fois.,<23
they
do the
slightest
thing contrary
to the rules.
the ear and
still
[they]
they
having
done
things
as
correctly
as
possible.
The
Italians,
more
bold,
suddenly change
upon
slightest
trill.
They
hold notes of such
a
prodigious length
them,
first
of all cannot
help being
offended
by
sequently they
cannot seem to
praise enough. They
make such
lengthy
melismas that those
hearing
music
prove
to be the
prime targets upon
writers.24 Even
instrumentalists
join
exemplified
23
F.
32-33.
24
Ibid., pp.
39-40:
Frangois,
il n'aura
jamais
qu'elle
soit
soutenue,
afin
qu'elle
reiississe;
plus
douces & les
plus
natu-
relies
est
choqu6e
de son
chantant,
il
chancelle;
au lieu
que
rompuie
de
jeunesse
a ces
dissonances,
&
y
a tte
accoutumee
par
la force de
l'habitude,
sur la
plus
belle corde du
monde,
& une assu-
rance
qui
I(fIf one
Frenchman to
sing,
force
to sustain it
firmly
which
[is what]
by
the
irregularity.
He trembles when
singing it;
he
wavers.
Whereas,
experienced
by
force of
habit,
are as firm on the
most
irregular
sing
always succeed.o)
79 79 79 79 79 79
80 E. HEHR, FRENCH VIEW OF 18TH-CENT. SINGING STYLES, IRASM 16 (1985), 1, 73-85 80 E. HEHR, FRENCH VIEW OF 18TH-CENT. SINGING STYLES, IRASM 16 (1985), 1, 73-85 80 E. HEHR, FRENCH VIEW OF 18TH-CENT. SINGING STYLES, IRASM 16 (1985), 1, 73-85 80 E. HEHR, FRENCH VIEW OF 18TH-CENT. SINGING STYLES, IRASM 16 (1985), 1, 73-85 80 E. HEHR, FRENCH VIEW OF 18TH-CENT. SINGING STYLES, IRASM 16 (1985), 1, 73-85 80 E. HEHR, FRENCH VIEW OF 18TH-CENT. SINGING STYLES, IRASM 16 (1985), 1, 73-85
by
Hubert Le Blanc in his
Defense
de la basse de viole when he
speaks
of
the
up
and down motion of a bow
producing
notes
>>unis &
lies,
sans
qu'on appergoive
leur
succession, prodruit
des roula-
des de sons
multiplies
a
l'infitni, qui
n'en
paroissent qu'une
continuite
tels
qu'en
formoient les
gosiers
de COSSINI & du FAUSTINA<.25
>united and
connected,
without
being
able to
perceive
their
succession,
producing
runs of infinite
multiple
sounds which
only appear
as
continuations like those formed
by
the throats of Cossini and
Faustina<.
Later,
he
compares
this effect to a continuous succession of dots.26
Though
the French do at times
manage
to restrain the harshness of
their
opinion,
they
can also become
fairly snide,
as on a
surprisingly basic, psychological
level, just
as Blainville did when he wrote:
>Pour les
Italiens,
abandonnes naturellement aux desordres de l'ima-
gination,
ils semblent nes avec un
penchant
a la
n6gligence;
ils ne vi-
sent
qu'a l'effet;
&
je
crois cette audace
plus propres
aux
grands choses,
que
cet
esprit
de raison
toujours
en
garde
contre lui-meme. Autant
la raison doit suivre de
pres
nos
jugemens;
autant un beau delire ne
se sent anime
que par l'yvresse
&
par
la folie. Aussi en fait de
pein-
ture & de
musique
les
Italiens ont un
feu,
un enthousiasme
qu'il
nous
sera
toujours
difficile
d'egaler.*<27
>>For the Italians who
naturally
abandoned themselves to the disorder
of the
imagination, they
seem born with an inclination towards
negligence. They
see
nothing
but the effect. I believe that this
audacity
[is]
more
appropriate
for
grand
achievements than that character for
reasoning always protecting
itself from
anything
rash. Just as reason
must follow
closely
our
judgments,
so too a fine
frenzy
is animated
only by ecstacy
and
folly.
Both in
painting
and in
music,
the Italians
have a
fire,
an enthusiasm which will
always
be difficult for us to
equal.<
To
speculate
that there existed such a fundamental
psychological
reason
for these two distinct
styles
is
certainly
a
fascinating hypothesis, though
it
perhaps
could be
investigated
in less
unflattering
terms. Further on he
does
give
Italian
singers
due credit for their >art infini dans leur
chant,
des nuances
subtiles,
vives & delicates-
(>infinite
art in their
singing,
the
subtle
nuances, lively
and
delicate<<) though
he also adds that Mme Fel
and M.
Jelyotte
can imitate these
qualities
if
they
so wish to do.
Still,
he
continues
his
reproach by saying
25
Hubert LiE
BLANC, Defense
de la basse de viole contre les
entreprises
du
violon et les
pretentions
du
violoncel, Amsterdam, 1740, p.
23.
26
Ibid., p.
51: >Les Voix de Faustina
&
Cossini 6toient
precisement
dans le meme
cas de ne
pouvoir
former
qu'une
succession de
Sons,
sans
Groupe, comparee
a la
ligne
qui
est une continuation de
points.- (-The
voices of Faustina and Cossini were
precise-
ly
in the same
position
of not
being
able to form but a succession of
sounds,
without
phrasing [them intelligently]
as
[can be] compared
to a line which is
only
a continua-
tion of dots.<)
27
Ch. H. de
BLAINVILLE, op. cit., pp.
39-40.
by
Defense
speaks
of
the
up
producing
notes
>>unis &
lies,
sans
qu'on appergoive
leur
des roula-
des de sons
multiplies
a
l'infitni, qui
n'en
paroissent qu'une
continuite
tels
qu'en
formoient les
gosiers
>united and
connected,
without
being
able to
perceive
their
succession,
producing
runs of infinite
multiple
sounds which
only appear
as
by
Faustina<.
Later,
he
compares
Though
manage
their
opinion,
they
can also become
fairly snide,
as on a
level, just
>Pour les
Italiens,
gination,
penchant
a la
n6gligence;
ils ne vi-
sent
qu'a l'effet;
&
je
crois cette audace
plus propres
aux
grands choses,
que
cet
esprit
de raison
toujours
en
garde
pres
nos
jugemens;
se sent anime
que par l'yvresse
&
par
pein-
ture & de
musique
les
Italiens ont un
feu,
un enthousiasme
qu'il
nous
sera
toujours
difficile
d'egaler.*<27
naturally
of the
imagination, they
negligence. They
see
nothing
audacity
[is]
more
appropriate
for
grand
itself from
anything
must follow
closely
our
judgments,
so too a fine
frenzy
is animated
only by ecstacy
and
folly.
Both in
painting
and in
music,
the Italians
have a
fire,
always
equal.<
To
speculate
psychological
reason
styles
is
certainly
a
it
perhaps
could be
investigated
in less
unflattering
does
give
Italian
singers
chant,
des nuances
subtiles,
vives & delicates-
(>infinite
art in their
singing,
the
subtle
nuances, lively
and
delicate<<) though
and M.
Jelyotte
can imitate these
qualities
if
they
so wish to do.
Still,
he
continues
his
reproach by saying
25
Hubert LiE
BLANC, Defense
entreprises
du
violon et les
pretentions
du
23.
26
Ibid., p.
&
Cossini 6toient
precisement
dans le meme
cas de ne
pouvoir
former
qu'une
succession de
Sons,
sans
Groupe, comparee
a la
ligne
qui
points.- (-The
precise-
ly
in the same
position
of not
being
sounds,
without
as
[can be] compared
to a line which is
only
a continua-
tion of dots.<)
27
Ch. H. de
39-40.
by
Defense
speaks
of
the
up
producing
notes
>>unis &
lies,
sans
qu'on appergoive
leur
des roula-
des de sons
multiplies
a
l'infitni, qui
n'en
paroissent qu'une
continuite
tels
qu'en
formoient les
gosiers
>united and
connected,
without
being
able to
perceive
their
succession,
producing
runs of infinite
multiple
sounds which
only appear
as
by
Faustina<.
Later,
he
compares
Though
manage
their
opinion,
they
can also become
fairly snide,
as on a
level, just
>Pour les
Italiens,
gination,
penchant
a la
n6gligence;
ils ne vi-
sent
qu'a l'effet;
&
je
crois cette audace
plus propres
aux
grands choses,
que
cet
esprit
de raison
toujours
en
garde
pres
nos
jugemens;
se sent anime
que par l'yvresse
&
par
pein-
ture & de
musique
les
Italiens ont un
feu,
un enthousiasme
qu'il
nous
sera
toujours
difficile
d'egaler.*<27
naturally
of the
imagination, they
negligence. They
see
nothing
audacity
[is]
more
appropriate
for
grand
itself from
anything
must follow
closely
our
judgments,
so too a fine
frenzy
is animated
only by ecstacy
and
folly.
Both in
painting
and in
music,
the Italians
have a
fire,
always
equal.<
To
speculate
psychological
reason
styles
is
certainly
a
it
perhaps
could be
investigated
in less
unflattering
does
give
Italian
singers
chant,
des nuances
subtiles,
vives & delicates-
(>infinite
art in their
singing,
the
subtle
nuances, lively
and
delicate<<) though
and M.
Jelyotte
can imitate these
qualities
if
they
so wish to do.
Still,
he
continues
his
reproach by saying
25
Hubert LiE
BLANC, Defense
entreprises
du
violon et les
pretentions
du
23.
26
Ibid., p.
&
Cossini 6toient
precisement
dans le meme
cas de ne
pouvoir
former
qu'une
succession de
Sons,
sans
Groupe, comparee
a la
ligne
qui
points.- (-The
precise-
ly
in the same
position
of not
being
sounds,
without
as
[can be] compared
to a line which is
only
a continua-
tion of dots.<)
27
Ch. H. de
39-40.
by
Defense
speaks
of
the
up
producing
notes
>>unis &
lies,
sans
qu'on appergoive
leur
des roula-
des de sons
multiplies
a
l'infitni, qui
n'en
paroissent qu'une
continuite
tels
qu'en
formoient les
gosiers
>united and
connected,
without
being
able to
perceive
their
succession,
producing
runs of infinite
multiple
sounds which
only appear
as
by
Faustina<.
Later,
he
compares
Though
manage
their
opinion,
they
can also become
fairly snide,
as on a
level, just
>Pour les
Italiens,
gination,
penchant
a la
n6gligence;
ils ne vi-
sent
qu'a l'effet;
&
je
crois cette audace
plus propres
aux
grands choses,
que
cet
esprit
de raison
toujours
en
garde
pres
nos
jugemens;
se sent anime
que par l'yvresse
&
par
pein-
ture & de
musique
les
Italiens ont un
feu,
un enthousiasme
qu'il
nous
sera
toujours
difficile
d'egaler.*<27
naturally
of the
imagination, they
negligence. They
see
nothing
audacity
[is]
more
appropriate
for
grand
itself from
anything
must follow
closely
our
judgments,
so too a fine
frenzy
is animated
only by ecstacy
and
folly.
Both in
painting
and in
music,
the Italians
have a
fire,
always
equal.<
To
speculate
psychological
reason
styles
is
certainly
a
it
perhaps
could be
investigated
in less
unflattering
does
give
Italian
singers
chant,
des nuances
subtiles,
vives & delicates-
(>infinite
art in their
singing,
the
subtle
nuances, lively
and
delicate<<) though
and M.
Jelyotte
can imitate these
qualities
if
they
so wish to do.
Still,
he
continues
his
reproach by saying
25
Hubert LiE
BLANC, Defense
entreprises
du
violon et les
pretentions
du
23.
26
Ibid., p.
&
Cossini 6toient
precisement
dans le meme
cas de ne
pouvoir
former
qu'une
succession de
Sons,
sans
Groupe, comparee
a la
ligne
qui
points.- (-The
precise-
ly
in the same
position
of not
being
sounds,
without
as
[can be] compared
to a line which is
only
a continua-
tion of dots.<)
27
Ch. H. de
39-40.
by
Defense
speaks
of
the
up
producing
notes
>>unis &
lies,
sans
qu'on appergoive
leur
des roula-
des de sons
multiplies
a
l'infitni, qui
n'en
paroissent qu'une
continuite
tels
qu'en
formoient les
gosiers
>united and
connected,
without
being
able to
perceive
their
succession,
producing
runs of infinite
multiple
sounds which
only appear
as
by
Faustina<.
Later,
he
compares
Though
manage
their
opinion,
they
can also become
fairly snide,
as on a
level, just
>Pour les
Italiens,
gination,
penchant
a la
n6gligence;
ils ne vi-
sent
qu'a l'effet;
&
je
crois cette audace
plus propres
aux
grands choses,
que
cet
esprit
de raison
toujours
en
garde
pres
nos
jugemens;
se sent anime
que par l'yvresse
&
par
pein-
ture & de
musique
les
Italiens ont un
feu,
un enthousiasme
qu'il
nous
sera
toujours
difficile
d'egaler.*<27
naturally
of the
imagination, they
negligence. They
see
nothing
audacity
[is]
more
appropriate
for
grand
itself from
anything
must follow
closely
our
judgments,
so too a fine
frenzy
is animated
only by ecstacy
and
folly.
Both in
painting
and in
music,
the Italians
have a
fire,
always
equal.<
To
speculate
psychological
reason
styles
is
certainly
a
it
perhaps
could be
investigated
in less
unflattering
does
give
Italian
singers
chant,
des nuances
subtiles,
vives & delicates-
(>infinite
art in their
singing,
the
subtle
nuances, lively
and
delicate<<) though
and M.
Jelyotte
can imitate these
qualities
if
they
so wish to do.
Still,
he
continues
his
reproach by saying
25
Hubert LiE
BLANC, Defense
entreprises
du
violon et les
pretentions
du
23.
26
Ibid., p.
&
Cossini 6toient
precisement
dans le meme
cas de ne
pouvoir
former
qu'une
succession de
Sons,
sans
Groupe, comparee
a la
ligne
qui
points.- (-The
precise-
ly
in the same
position
of not
being
sounds,
without
as
[can be] compared
to a line which is
only
a continua-
tion of dots.<)
27
Ch. H. de
39-40.
by
Defense
speaks
of
the
up
producing
notes
>>unis &
lies,
sans
qu'on appergoive
leur
des roula-
des de sons
multiplies
a
l'infitni, qui
n'en
paroissent qu'une
continuite
tels
qu'en
formoient les
gosiers
>united and
connected,
without
being
able to
perceive
their
succession,
producing
runs of infinite
multiple
sounds which
only appear
as
by
Faustina<.
Later,
he
compares
Though
manage
their
opinion,
they
can also become
fairly snide,
as on a
level, just
>Pour les
Italiens,
gination,
penchant
a la
n6gligence;
ils ne vi-
sent
qu'a l'effet;
&
je
crois cette audace
plus propres
aux
grands choses,
que
cet
esprit
de raison
toujours
en
garde
pres
nos
jugemens;
se sent anime
que par l'yvresse
&
par
pein-
ture & de
musique
les
Italiens ont un
feu,
un enthousiasme
qu'il
nous
sera
toujours
difficile
d'egaler.*<27
naturally
of the
imagination, they
negligence. They
see
nothing
audacity
[is]
more
appropriate
for
grand
itself from
anything
must follow
closely
our
judgments,
so too a fine
frenzy
is animated
only by ecstacy
and
folly.
Both in
painting
and in
music,
the Italians
have a
fire,
always
equal.<
To
speculate
psychological
reason
styles
is
certainly
a
it
perhaps
could be
investigated
in less
unflattering
does
give
Italian
singers
chant,
des nuances
subtiles,
vives & delicates-
(>infinite
art in their
singing,
the
subtle
nuances, lively
and
delicate<<) though
and M.
Jelyotte
can imitate these
qualities
if
they
so wish to do.
Still,
he
continues
his
reproach by saying
25
Hubert LiE
BLANC, Defense
entreprises
du
violon et les
pretentions
du
23.
26
Ibid., p.
&
Cossini 6toient
precisement
dans le meme
cas de ne
pouvoir
former
qu'une
succession de
Sons,
sans
Groupe, comparee
a la
ligne
qui
points.- (-The
precise-
ly
in the same
position
of not
being
sounds,
without
as
[can be] compared
to a line which is
only
a continua-
tion of dots.<)
27
Ch. H. de
39-40.
>il leur
manque,
aux
Italiens,
un air de noblesse & de
verite,
ou
plutot
on d6mele a la
longue
un ton
pantomime
dans le caractere de la Mu-
sique,
& la
f.agon
de la
chanter, qui degrade
dans
l'esprit
d'un Connois-
seur toutes ces beautes*,.28
?the Italians lack a noble and honest air or
[it is]
rather that one finds
in the course of time a
feeling
of
[mere] pantomine
in the character
of the music and in the
way
of
singing
which
degrades
all these
beauties for the
appreciation
of the true connoisseur<.
Needless to
say,
Blainville is not alone in his views. Le Cerf further
complains
about Italian
singers making grimaces throughout
their vocal
displays
and
thereby eliminating
three
important qualities:
>?Nous ne les
croirons ni
expressifs,
ni
simples,
ni modestes.*<29
(>We
do not believe that
they
are
expressive, simple,
or
modest.<)
Again
this idea of a kind of unnaturalness in Italian music comes into
view. A fixed aversion for those
profuse additions, nevertheless,
can border
on admiration. Le Cerf tends to
expound
several times
upon
this
subject.
>Leur amour
pour
les chants
extraordinaires,
la torture
qu'il
faut se
donner
pour
dechifrer leurs
efroyables transpositions,
la
profusion
importune
de leurs
ornemens,
la coutume
qu'ils
ont de
parcourir
en
cinq
ou six
mesures,
deux ou trois octaves de bas en haut & de haut
en
bas,
& de
changer
a tout moment de mouvement & de mode
& c. sont des
marques
tres certains
que
la
Musique
de
leurs Motets
n'est
point
naturelle.<30
>Their love of
extraordinary melodies,
the torture one must
give
to
sightread
their horrible
transpositions,
the troublesome
profusion
of
their
ornaments,
the habit which
they
have to run two or three
octaves
from bottom to
top
and from
top
to bottom in
[only]
five or
six
measures, and to
change continuously
movement and
mode, etc,
are the definite marks that the music of their motets is not at all
natural.<
Further
on,
he cannot
help
but cite a rather
amusing example
about
Buononcini's excessive
capabilities.
>Buononcini a
touijours
mis a bon comte sur l'O du mot
SCOCCA,
une
roulade de 30 notes a
peu pres;
on la chante
quatre fois,
ce sont 120
notes
pour
cet O
seul;
& il n'est
pas
commun non
plus que
la mort
soit d6crochee &
reguie
de cette
gayete.<31
>Buononcini
always put
a run of about 30 notes on the O of the word
SCOCCA. It is
sung
four
times,
which makes 120 notes for this O
alone. It is not common either that death be released and received
with such
gaiety.<
He then accuses 'ce Heros de l'Italie' of
displaying
such richness in
ornamentation as to convince him
[Le Cerf]
of Buononcini's
complete
28
Ibid., p.
121.
29
J.-L. LE
CERF, op. cit., p.
148.
30
Ibid., p.
113.
31
Ibid., p. 221.
>il leur
manque,
aux
Italiens,
verite,
ou
plutot
on d6mele a la
longue
un ton
pantomime
sique,
& la
f.agon
de la
dans
l'esprit
d'un Connois-
[it is]
feeling
of
[mere] pantomine
in the character
way
of
singing
which
degrades
all these
beauties for the
appreciation
Needless to
say,
complains
about Italian
their vocal
displays
and
thereby eliminating
three
>?Nous ne les
croirons ni
expressifs,
ni
simples,
ni modestes.*<29
(>We
do not believe that
they
are
expressive, simple,
or
modest.<)
Again
can border
expound
several times
upon
this
subject.
>Leur amour
pour
les chants
extraordinaires,
la torture
qu'il
faut se
donner
pour
dechifrer leurs
la
profusion
importune
de leurs
ornemens,
la coutume
qu'ils
ont de
parcourir
en
cinq
ou six
mesures,
en
bas,
& de
changer
& c. sont des
marques
tres certains
que
la
Musique
de
leurs Motets
n'est
point
naturelle.<30
>Their love of
give
to
sightread
their horrible
transpositions,
the troublesome
profusion
of
their
ornaments,
the habit which
they
octaves
from bottom to
top
and from
top
to bottom in
[only]
five or
six
measures, and to
change continuously
movement and
mode, etc,
natural.<
Further
on,
he cannot
help
but cite a rather
amusing example
about
capabilities.
>Buononcini a
touijours
SCOCCA,
une
peu pres;
on la chante
quatre fois,
ce sont 120
notes
pour
cet O
seul;
& il n'est
pas
commun non
plus que
la mort
soit d6crochee &
reguie
de cette
gayete.<31
>Buononcini
always put
SCOCCA. It is
sung
four
times,
with such
gaiety.<
displaying
such richness in
[Le Cerf]
of Buononcini's
complete
28
Ibid., p.
121.
29
J.-L. LE
CERF, op. cit., p.
148.
30
Ibid., p.
113.
31
Ibid., p. 221.
>il leur
manque,
aux
Italiens,
verite,
ou
plutot
on d6mele a la
longue
un ton
pantomime
sique,
& la
f.agon
de la
dans
l'esprit
d'un Connois-
[it is]
feeling
of
[mere] pantomine
in the character
way
of
singing
which
degrades
all these
beauties for the
appreciation
Needless to
say,
complains
about Italian
their vocal
displays
and
thereby eliminating
three
>?Nous ne les
croirons ni
expressifs,
ni
simples,
ni modestes.*<29
(>We
do not believe that
they
are
expressive, simple,
or
modest.<)
Again
can border
expound
several times
upon
this
subject.
>Leur amour
pour
les chants
extraordinaires,
la torture
qu'il
faut se
donner
pour
dechifrer leurs
la
profusion
importune
de leurs
ornemens,
la coutume
qu'ils
ont de
parcourir
en
cinq
ou six
mesures,
en
bas,
& de
changer
& c. sont des
marques
tres certains
que
la
Musique
de
leurs Motets
n'est
point
naturelle.<30
>Their love of
give
to
sightread
their horrible
transpositions,
the troublesome
profusion
of
their
ornaments,
the habit which
they
octaves
from bottom to
top
and from
top
to bottom in
[only]
five or
six
measures, and to
change continuously
movement and
mode, etc,
natural.<
Further
on,
he cannot
help
but cite a rather
amusing example
about
capabilities.
>Buononcini a
touijours
SCOCCA,
une
peu pres;
on la chante
quatre fois,
ce sont 120
notes
pour
cet O
seul;
& il n'est
pas
commun non
plus que
la mort
soit d6crochee &
reguie
de cette
gayete.<31
>Buononcini
always put
SCOCCA. It is
sung
four
times,
with such
gaiety.<
displaying
such richness in
[Le Cerf]
of Buononcini's
complete
28
Ibid., p.
121.
29
J.-L. LE
CERF, op. cit., p.
148.
30
Ibid., p.
113.
31
Ibid., p. 221.
>il leur
manque,
aux
Italiens,
verite,
ou
plutot
on d6mele a la
longue
un ton
pantomime
sique,
& la
f.agon
de la
dans
l'esprit
d'un Connois-
[it is]
feeling
of
[mere] pantomine
in the character
way
of
singing
which
degrades
all these
beauties for the
appreciation
Needless to
say,
complains
about Italian
their vocal
displays
and
thereby eliminating
three
>?Nous ne les
croirons ni
expressifs,
ni
simples,
ni modestes.*<29
(>We
do not believe that
they
are
expressive, simple,
or
modest.<)
Again
can border
expound
several times
upon
this
subject.
>Leur amour
pour
les chants
extraordinaires,
la torture
qu'il
faut se
donner
pour
dechifrer leurs
la
profusion
importune
de leurs
ornemens,
la coutume
qu'ils
ont de
parcourir
en
cinq
ou six
mesures,
en
bas,
& de
changer
& c. sont des
marques
tres certains
que
la
Musique
de
leurs Motets
n'est
point
naturelle.<30
>Their love of
give
to
sightread
their horrible
transpositions,
the troublesome
profusion
of
their
ornaments,
the habit which
they
octaves
from bottom to
top
and from
top
to bottom in
[only]
five or
six
measures, and to
change continuously
movement and
mode, etc,
natural.<
Further
on,
he cannot
help
but cite a rather
amusing example
about
capabilities.
>Buononcini a
touijours
SCOCCA,
une
peu pres;
on la chante
quatre fois,
ce sont 120
notes
pour
cet O
seul;
& il n'est
pas
commun non
plus que
la mort
soit d6crochee &
reguie
de cette
gayete.<31
>Buononcini
always put
SCOCCA. It is
sung
four
times,
with such
gaiety.<
displaying
such richness in
[Le Cerf]
of Buononcini's
complete
28
Ibid., p.
121.
29
J.-L. LE
CERF, op. cit., p.
148.
30
Ibid., p.
113.
31
Ibid., p. 221.
>il leur
manque,
aux
Italiens,
verite,
ou
plutot
on d6mele a la
longue
un ton
pantomime
sique,
& la
f.agon
de la
dans
l'esprit
d'un Connois-
[it is]
feeling
of
[mere] pantomine
in the character
way
of
singing
which
degrades
all these
beauties for the
appreciation
Needless to
say,
complains
about Italian
their vocal
displays
and
thereby eliminating
three
>?Nous ne les
croirons ni
expressifs,
ni
simples,
ni modestes.*<29
(>We
do not believe that
they
are
expressive, simple,
or
modest.<)
Again
can border
expound
several times
upon
this
subject.
>Leur amour
pour
les chants
extraordinaires,
la torture
qu'il
faut se
donner
pour
dechifrer leurs
la
profusion
importune
de leurs
ornemens,
la coutume
qu'ils
ont de
parcourir
en
cinq
ou six
mesures,
en
bas,
& de
changer
& c. sont des
marques
tres certains
que
la
Musique
de
leurs Motets
n'est
point
naturelle.<30
>Their love of
give
to
sightread
their horrible
transpositions,
the troublesome
profusion
of
their
ornaments,
the habit which
they
octaves
from bottom to
top
and from
top
to bottom in
[only]
five or
six
measures, and to
change continuously
movement and
mode, etc,
natural.<
Further
on,
he cannot
help
but cite a rather
amusing example
about
capabilities.
>Buononcini a
touijours
SCOCCA,
une
peu pres;
on la chante
quatre fois,
ce sont 120
notes
pour
cet O
seul;
& il n'est
pas
commun non
plus que
la mort
soit d6crochee &
reguie
de cette
gayete.<31
>Buononcini
always put
SCOCCA. It is
sung
four
times,
with such
gaiety.<
displaying
such richness in
[Le Cerf]
of Buononcini's
complete
28
Ibid., p.
121.
29
J.-L. LE
CERF, op. cit., p.
148.
30
Ibid., p.
113.
31
Ibid., p. 221.
>il leur
manque,
aux
Italiens,
verite,
ou
plutot
on d6mele a la
longue
un ton
pantomime
sique,
& la
f.agon
de la
dans
l'esprit
d'un Connois-
[it is]
feeling
of
[mere] pantomine
in the character
way
of
singing
which
degrades
all these
beauties for the
appreciation
Needless to
say,
complains
about Italian
their vocal
displays
and
thereby eliminating
three
>?Nous ne les
croirons ni
expressifs,
ni
simples,
ni modestes.*<29
(>We
do not believe that
they
are
expressive, simple,
or
modest.<)
Again
can border
expound
several times
upon
this
subject.
>Leur amour
pour
les chants
extraordinaires,
la torture
qu'il
faut se
donner
pour
dechifrer leurs
la
profusion
importune
de leurs
ornemens,
la coutume
qu'ils
ont de
parcourir
en
cinq
ou six
mesures,
en
bas,
& de
changer
& c. sont des
marques
tres certains
que
la
Musique
de
leurs Motets
n'est
point
naturelle.<30
>Their love of
give
to
sightread
their horrible
transpositions,
the troublesome
profusion
of
their
ornaments,
the habit which
they
octaves
from bottom to
top
and from
top
to bottom in
[only]
five or
six
measures, and to
change continuously
movement and
mode, etc,
natural.<
Further
on,
he cannot
help
but cite a rather
amusing example
about
capabilities.
>Buononcini a
touijours
SCOCCA,
une
peu pres;
on la chante
quatre fois,
ce sont 120
notes
pour
cet O
seul;
& il n'est
pas
commun non
plus que
la mort
soit d6crochee &
reguie
de cette
gayete.<31
>Buononcini
always put
SCOCCA. It is
sung
four
times,
with such
gaiety.<
displaying
such richness in
[Le Cerf]
of Buononcini's
complete
28
Ibid., p.
121.
29
J.-L. LE
CERF, op. cit., p.
148.
30
Ibid., p.
113.
31
Ibid., p. 221.
81 81 81 81 81 81
82 E. HEHR, FRENCH VIEW
OF
18TH-CENT. SINGING STYLES, IRASM
16
(1985), 1, 73-85 82 E. HEHR, FRENCH VIEW
OF
16
OF
16
OF
16
OF
16
OF
16
(1985), 1, 73-85
ignorance
of the virtue of
simplicity.32
In an almost parental
reprimanding
fashion,
Le Cerf
talking
in terms of
opera
contends that the Italians are
always playing
around with additional ornaments because
1) they
are
incapable
of
stopping
themselves and
2) they
lack the
necessary
serious-
ness:
*Come le
gouit
et le talent des Italiens est de
touijours jouer,
de tou-
jours badiner;
&
que
ce sont des Musiciens
enyvres
de leurs
sgavans
agr6mens;
&
incapables
d',arreter leur saillies & leur exces: tous les
endroits
serieux,
&
qui
demandent de la
gravite,
de la
sagesse,
sont
hors de leur
portee;
ils ne
scavent
ce
que
c'est. Ainsi les
sacrifices,
les
invocations,
les
sermens,
& c. sont des morceaux d'une beaute aussi
peu
connue chez
eux, qu'elles
l'est
parfaitement
ches nous.?33
>Since the
'gouit'
and the talent of the Italians is
always
to
play
and
jest;
and that
they
are musicians intoxicated
by
their clever ornaments
and
incapable
of
stopping
their outbursts and
excesses,
all the serious
places
which call for
gravity,
wisdom are out of their reach.
They
do
not know what it is. Likewise
sacrifices, invocations, sermons,
etc. are
pieces
of a
beauty
so little known to them as
they
are
perfectly
known
to us.<
The Abbe
Raguenet
also tends to
agree
that there seems to be a basic
difference in the nature of Frenchmen and Italians for he reasons that:
>Comme les Italiens sont
beaucoup plus
vif
que
les
Frangois,
ils sont bien
plus
sensibles
qu'eux
aux
passions,
& les
expriment
aussi bien
plus
vive-
ment dans toutes leurs
productions.< (>Since
the Italians are much more
lively
than the
French, they [Italians]
are more sensitive to the
passions
and likewise
express
them more
energetically
in all their
performances.<)
His reflexions continue with:
>tout
y
est si
vif,
si
aigu,
si
pergant,
si
impetueux
et si
remuant, que
l'imagination,
les
sens, l'ame,
& le
corps
meme en sont entrainez d'un
commun
transport;
on ne
peut
se defendre de suivre la
rapidite
de ces
mouvemens<.34
>>everything
there is so
alive,
so
sharp,
so
piercing,
so
impetuous
and
so
agitated
that the
imagination,
the
senses,
the soul and even the
body
itself are carried
away together.
No one can defend himself
against
the
speed
of these movements<.
To
him,
there seems to be a
unique ability
for Italians to
express
a
combination of tenderness
along
with that of vivaciousness.
32
Ibid., pp.
221-222: >Pour
plus d'exactitude, j'ai emprunte depuis
le Livre de
Mr. l'Abbe
R, quelques
Cantates de
Buononcini, que j'ai
examinees. Ce Heros de l'Italie
r6pand
les richesses des ornamens de sa
Musique
avec une telle
profusion, que
la
simplicite
ne
sgauroit
etre une vertu de sa connoissance.o
(>For greater accuracy,
I
borrowed from Mr. l'Abbe R.'s
book,
some of Buononcini's
cantata!s,
which I
examined. This hero of
Italy
so
richly
scatters the ornaments in his music with such
profusion
that he
clearly
could not know what the virtue of
simplicity is.()
33
Ibid.,
tome
,11, p.
106.
34 F.
42-43.
ignorance
of the virtue of
simplicity.32
reprimanding
fashion,
Le Cerf
talking
in terms of
opera
always playing
1) they
are
incapable
of
stopping
themselves and
2) they
lack the
necessary
serious-
ness:
*Come le
gouit
touijours jouer,
de tou-
jours badiner;
&
que
enyvres
de leurs
sgavans
agr6mens;
&
incapables
endroits
serieux,
&
qui
demandent de la
gravite,
de la
sagesse,
sont
hors de leur
portee;
ils ne
scavent
ce
que
c'est. Ainsi les
sacrifices,
les
invocations,
les
sermens,
peu
connue chez
eux, qu'elles
l'est
parfaitement
ches nous.?33
>Since the
'gouit'
always
to
play
and
jest;
and that
they
by
and
incapable
of
stopping
their outbursts and
excesses,
all the serious
places
which call for
gravity,
They
do
etc. are
pieces
of a
beauty
they
are
perfectly
known
to us.<
The Abbe
Raguenet
also tends to
agree
beaucoup plus
vif
que
les
Frangois,
ils sont bien
plus
sensibles
qu'eux
aux
passions,
& les
expriment
aussi bien
plus
vive-
lively
than the
passions
and likewise
express
them more
energetically
in all their
performances.<)
>tout
y
est si
vif,
si
aigu,
si
pergant,
si
impetueux
et si
remuant, que
l'imagination,
les
sens, l'ame,
& le
corps
commun
transport;
on ne
peut
rapidite
de ces
mouvemens<.34
>>everything
there is so
alive,
so
sharp,
so
piercing,
so
impetuous
and
so
agitated
that the
imagination,
the
senses,
body
itself are carried
away together.
against
the
speed
To
him,
there seems to be a
unique ability
for Italians to
express
a
along
32
Ibid., pp.
221-222: >Pour
le Livre de
Mr. l'Abbe
R, quelques
Cantates de
r6pand
Musique
avec une telle
profusion, que
la
simplicite
ne
sgauroit
I
book,
cantata!s,
which I
Italy
so
richly
profusion
that he
clearly
simplicity is.()
33
Ibid.,
tome
,11, p.
106.
34 F.
42-43.
ignorance
of the virtue of
simplicity.32
reprimanding
fashion,
Le Cerf
talking
in terms of
opera
always playing
1) they
are
incapable
of
stopping
themselves and
2) they
lack the
necessary
serious-
ness:
*Come le
gouit
touijours jouer,
de tou-
jours badiner;
&
que
enyvres
de leurs
sgavans
agr6mens;
&
incapables
endroits
serieux,
&
qui
demandent de la
gravite,
de la
sagesse,
sont
hors de leur
portee;
ils ne
scavent
ce
que
c'est. Ainsi les
sacrifices,
les
invocations,
les
sermens,
peu
connue chez
eux, qu'elles
l'est
parfaitement
ches nous.?33
>Since the
'gouit'
always
to
play
and
jest;
and that
they
by
and
incapable
of
stopping
their outbursts and
excesses,
all the serious
places
which call for
gravity,
They
do
etc. are
pieces
of a
beauty
they
are
perfectly
known
to us.<
The Abbe
Raguenet
also tends to
agree
beaucoup plus
vif
que
les
Frangois,
ils sont bien
plus
sensibles
qu'eux
aux
passions,
& les
expriment
aussi bien
plus
vive-
lively
than the
passions
and likewise
express
them more
energetically
in all their
performances.<)
>tout
y
est si
vif,
si
aigu,
si
pergant,
si
impetueux
et si
remuant, que
l'imagination,
les
sens, l'ame,
& le
corps
commun
transport;
on ne
peut
rapidite
de ces
mouvemens<.34
>>everything
there is so
alive,
so
sharp,
so
piercing,
so
impetuous
and
so
agitated
that the
imagination,
the
senses,
body
itself are carried
away together.
against
the
speed
To
him,
there seems to be a
unique ability
for Italians to
express
a
along
32
Ibid., pp.
221-222: >Pour
le Livre de
Mr. l'Abbe
R, quelques
Cantates de
r6pand
Musique
avec une telle
profusion, que
la
simplicite
ne
sgauroit
I
book,
cantata!s,
which I
Italy
so
richly
profusion
that he
clearly
simplicity is.()
33
Ibid.,
tome
,11, p.
106.
34 F.
42-43.
ignorance
of the virtue of
simplicity.32
reprimanding
fashion,
Le Cerf
talking
in terms of
opera
always playing
1) they
are
incapable
of
stopping
themselves and
2) they
lack the
necessary
serious-
ness:
*Come le
gouit
touijours jouer,
de tou-
jours badiner;
&
que
enyvres
de leurs
sgavans
agr6mens;
&
incapables
endroits
serieux,
&
qui
demandent de la
gravite,
de la
sagesse,
sont
hors de leur
portee;
ils ne
scavent
ce
que
c'est. Ainsi les
sacrifices,
les
invocations,
les
sermens,
peu
connue chez
eux, qu'elles
l'est
parfaitement
ches nous.?33
>Since the
'gouit'
always
to
play
and
jest;
and that
they
by
and
incapable
of
stopping
their outbursts and
excesses,
all the serious
places
which call for
gravity,
They
do
etc. are
pieces
of a
beauty
they
are
perfectly
known
to us.<
The Abbe
Raguenet
also tends to
agree
beaucoup plus
vif
que
les
Frangois,
ils sont bien
plus
sensibles
qu'eux
aux
passions,
& les
expriment
aussi bien
plus
vive-
lively
than the
passions
and likewise
express
them more
energetically
in all their
performances.<)
>tout
y
est si
vif,
si
aigu,
si
pergant,
si
impetueux
et si
remuant, que
l'imagination,
les
sens, l'ame,
& le
corps
commun
transport;
on ne
peut
rapidite
de ces
mouvemens<.34
>>everything
there is so
alive,
so
sharp,
so
piercing,
so
impetuous
and
so
agitated
that the
imagination,
the
senses,
body
itself are carried
away together.
against
the
speed
To
him,
there seems to be a
unique ability
for Italians to
express
a
along
32
Ibid., pp.
221-222: >Pour
le Livre de
Mr. l'Abbe
R, quelques
Cantates de
r6pand
Musique
avec une telle
profusion, que
la
simplicite
ne
sgauroit
I
book,
cantata!s,
which I
Italy
so
richly
profusion
that he
clearly
simplicity is.()
33
Ibid.,
tome
,11, p.
106.
34 F.
42-43.
ignorance
of the virtue of
simplicity.32
reprimanding
fashion,
Le Cerf
talking
in terms of
opera
always playing
1) they
are
incapable
of
stopping
themselves and
2) they
lack the
necessary
serious-
ness:
*Come le
gouit
touijours jouer,
de tou-
jours badiner;
&
que
enyvres
de leurs
sgavans
agr6mens;
&
incapables
endroits
serieux,
&
qui
demandent de la
gravite,
de la
sagesse,
sont
hors de leur
portee;
ils ne
scavent
ce
que
c'est. Ainsi les
sacrifices,
les
invocations,
les
sermens,
peu
connue chez
eux, qu'elles
l'est
parfaitement
ches nous.?33
>Since the
'gouit'
always
to
play
and
jest;
and that
they
by
and
incapable
of
stopping
their outbursts and
excesses,
all the serious
places
which call for
gravity,
They
do
etc. are
pieces
of a
beauty
they
are
perfectly
known
to us.<
The Abbe
Raguenet
also tends to
agree
beaucoup plus
vif
que
les
Frangois,
ils sont bien
plus
sensibles
qu'eux
aux
passions,
& les
expriment
aussi bien
plus
vive-
lively
than the
passions
and likewise
express
them more
energetically
in all their
performances.<)
>tout
y
est si
vif,
si
aigu,
si
pergant,
si
impetueux
et si
remuant, que
l'imagination,
les
sens, l'ame,
& le
corps
commun
transport;
on ne
peut
rapidite
de ces
mouvemens<.34
>>everything
there is so
alive,
so
sharp,
so
piercing,
so
impetuous
and
so
agitated
that the
imagination,
the
senses,
body
itself are carried
away together.
against
the
speed
To
him,
there seems to be a
unique ability
for Italians to
express
a
along
32
Ibid., pp.
221-222: >Pour
le Livre de
Mr. l'Abbe
R, quelques
Cantates de
r6pand
Musique
avec une telle
profusion, que
la
simplicite
ne
sgauroit
I
book,
cantata!s,
which I
Italy
so
richly
profusion
that he
clearly
simplicity is.()
33
Ibid.,
tome
,11, p.
106.
34 F.
42-43.
ignorance
of the virtue of
simplicity.32
reprimanding
fashion,
Le Cerf
talking
in terms of
opera
always playing
1) they
are
incapable
of
stopping
themselves and
2) they
lack the
necessary
serious-
ness:
*Come le
gouit
touijours jouer,
de tou-
jours badiner;
&
que
enyvres
de leurs
sgavans
agr6mens;
&
incapables
endroits
serieux,
&
qui
demandent de la
gravite,
de la
sagesse,
sont
hors de leur
portee;
ils ne
scavent
ce
que
c'est. Ainsi les
sacrifices,
les
invocations,
les
sermens,
peu
connue chez
eux, qu'elles
l'est
parfaitement
ches nous.?33
>Since the
'gouit'
always
to
play
and
jest;
and that
they
by
and
incapable
of
stopping
their outbursts and
excesses,
all the serious
places
which call for
gravity,
They
do
etc. are
pieces
of a
beauty
they
are
perfectly
known
to us.<
The Abbe
Raguenet
also tends to
agree
beaucoup plus
vif
que
les
Frangois,
ils sont bien
plus
sensibles
qu'eux
aux
passions,
& les
expriment
aussi bien
plus
vive-
lively
than the
passions
and likewise
express
them more
energetically
in all their
performances.<)
>tout
y
est si
vif,
si
aigu,
si
pergant,
si
impetueux
et si
remuant, que
l'imagination,
les
sens, l'ame,
& le
corps
commun
transport;
on ne
peut
rapidite
de ces
mouvemens<.34
>>everything
there is so
alive,
so
sharp,
so
piercing,
so
impetuous
and
so
agitated
that the
imagination,
the
senses,
body
itself are carried
away together.
against
the
speed
To
him,
there seems to be a
unique ability
for Italians to
express
a
along
32
Ibid., pp.
221-222: >Pour
le Livre de
Mr. l'Abbe
R, quelques
Cantates de
r6pand
Musique
avec une telle
profusion, que
la
simplicite
ne
sgauroit
I
book,
cantata!s,
which I
Italy
so
richly
profusion
that he
clearly
simplicity is.()
33
Ibid.,
tome
,11, p.
106.
34 F.
42-43.
>,Ainsi,
soit
que
les Airs soient d'un caratere vif ou d'un caratere
ten-
dre,
soient
qu'ils
soient
impetueux
ou
lanquissans,
les Italians
l'em-
portent egalement
sur les
Frangois:
mais ils
font, par
desus
cela, une
chose
que
ny
les musiciens
Francois, ny
ceux de toutes les autres
Na-
tions ne sauroient & n'ont
jamais sgu faire;
car ils unissent
quelques
fois d'une maniere
surprenant,
la tendresse avec la vivacite.?35
>Thus,
whether the airs have a
lively
or tender
character,
or whether
they
are
impetuous
or
languid,
the Italians are
superior
in all to the
French;
but
beyond that, they
do one
thing
which neither the French
musicians nor those of
any
other nation know how or ever knew how
to
do,
because
they
sometimes unite tenderness with vivaciousness in
a
surprising way.<
Likewise,
it was to their credit that the Italians
apparently
did not lack
an exuberant nature in one is to believe
Raguenet
when he
spoke
of Italian
opera:
>et
qu'ils
durent des
cinq
& six
heures,
on ne
s'y ennuye cependant
jamais;
au lieu
qu'apres quelques representations
des n6tres
qui
du-
rent la moitie
moins,
il
y
a
tres-peu
de
personnes qui
n'en soient ras-
sasi6es &
qui
ne
s'y ennuyentA.36
>,and although
they
last five and six
hours,
nevertheless one is never
bored,
whereas after some of our
performances
which last half as
long,
there are few
people
who are not both saturated and bored<.
Furthermore,
the whole
problem
of ornamentation was not restricted
simply
to the
'gout'
of either the
performer, composer
nor even these two
styles.
Another
aspect
of this whole
problem
stems from a still more basic
level,
that of
language.
The
general fluency
or convenience of both
languages
for
singing purposes
had often been discussed. The overall
complaint
is one of the
unadaptability
of the French
language by
reason
of the mute
syllables and,
to a lesser
degree, diphthongs. Again, Raguenet
attests to this ineradicable condition.
>La
langue
Italienne a un
grand avantage
sur la
langue Frangoise
pour
etre chantee... la beaute des
passages
& des cadences en
paroit
davantage;
au lieu
que
les
Frangois
les font
indifferement
sur toutes
les
voyelles,
sur les
plus
sourdes comme sur les
plus sonores;
ils les
font meme souvent sur les
diphtongues,
comme dans les mots de
CHAINE,
de
GLOIRE,
& c.*37
>The Italian
language
has a
great advantage
over the French
[lan-
guage]
when
sung.
...
[In Italian]
the
beauty
of the
passage
notes and
of the trills becomes more
apparent. By contrast,
the French make
them
[i.
e.
flourishes]
indiscriminately
on all
vowels;
on the most silent
as on the most sonorous.
Often,
they
even make them on
diphthongs
like those in the words 'Chaine'
[chain]
and 'Gloire'
[Glory],
etc.<
35
Ibid., p. 48.
36
Ibid., pp.
123-124.
37
Ibid., pp. 23-24, 26.
>,Ainsi,
soit
que
ten-
dre,
soient
qu'ils
soient
impetueux
ou
lanquissans,
les Italians
l'em-
portent egalement
sur les
Frangois:
mais ils
font, par
desus
cela, une
chose
que
ny
les musiciens
Francois, ny
Na-
jamais sgu faire;
car ils unissent
quelques
fois d'une maniere
surprenant,
>Thus,
lively
or tender
character,
or whether
they
are
impetuous
or
languid,
the Italians are
superior
in all to the
French;
but
beyond that, they
do one
thing
any
to
do,
because
they
a
surprising way.<
Likewise,
apparently
did not lack
Raguenet
when he
spoke
of Italian
opera:
>et
qu'ils
durent des
cinq
& six
heures,
on ne
jamais;
au lieu
des n6tres
qui
du-
rent la moitie
moins,
il
y
a
tres-peu
de
personnes qui
n'en soient ras-
sasi6es &
qui
ne
s'y ennuyentA.36
>,and although
they
last five and six
hours,
bored,
performances
which last half as
long,
there are few
people
Furthermore,
the whole
problem
simply
to the
'gout'
of either the
performer, composer
nor even these two
styles.
Another
aspect
of this whole
problem
level,
that of
language.
The
general fluency
languages
for
singing purposes
complaint
is one of the
unadaptability
of the French
language by
reason
of the mute
syllables and,
to a lesser
>La
langue
Italienne a un
grand avantage
sur la
langue Frangoise
pour
passages
& des cadences en
paroit
davantage;
au lieu
que
les
Frangois
les font
indifferement
sur toutes
les
voyelles,
sur les
plus
plus sonores;
ils les
diphtongues,
CHAINE,
de
GLOIRE,
& c.*37
>The Italian
language
has a
great advantage
over the French
[lan-
guage]
when
sung.
...
[In Italian]
the
beauty
of the
passage
notes and
the French make
them
[i.
e.
flourishes]
indiscriminately
on all
vowels;
on the most silent
Often,
they
even make them on
diphthongs
[chain]
and 'Gloire'
[Glory],
etc.<
35
Ibid., p. 48.
36
Ibid., pp.
123-124.
37
Ibid., pp. 23-24, 26.
>,Ainsi,
soit
que
ten-
dre,
soient
qu'ils
soient
impetueux
ou
lanquissans,
les Italians
l'em-
portent egalement
sur les
Frangois:
mais ils
font, par
desus
cela, une
chose
que
ny
les musiciens
Francois, ny
Na-
jamais sgu faire;
car ils unissent
quelques
fois d'une maniere
surprenant,
>Thus,
lively
or tender
character,
or whether
they
are
impetuous
or
languid,
the Italians are
superior
in all to the
French;
but
beyond that, they
do one
thing
any
to
do,
because
they
a
surprising way.<
Likewise,
apparently
did not lack
Raguenet
when he
spoke
of Italian
opera:
>et
qu'ils
durent des
cinq
& six
heures,
on ne
jamais;
au lieu
des n6tres
qui
du-
rent la moitie
moins,
il
y
a
tres-peu
de
personnes qui
n'en soient ras-
sasi6es &
qui
ne
s'y ennuyentA.36
>,and although
they
last five and six
hours,
bored,
performances
which last half as
long,
there are few
people
Furthermore,
the whole
problem
simply
to the
'gout'
of either the
performer, composer
nor even these two
styles.
Another
aspect
of this whole
problem
level,
that of
language.
The
general fluency
languages
for
singing purposes
complaint
is one of the
unadaptability
of the French
language by
reason
of the mute
syllables and,
to a lesser
>La
langue
Italienne a un
grand avantage
sur la
langue Frangoise
pour
passages
& des cadences en
paroit
davantage;
au lieu
que
les
Frangois
les font
indifferement
sur toutes
les
voyelles,
sur les
plus
plus sonores;
ils les
diphtongues,
CHAINE,
de
GLOIRE,
& c.*37
>The Italian
language
has a
great advantage
over the French
[lan-
guage]
when
sung.
...
[In Italian]
the
beauty
of the
passage
notes and
the French make
them
[i.
e.
flourishes]
indiscriminately
on all
vowels;
on the most silent
Often,
they
even make them on
diphthongs
[chain]
and 'Gloire'
[Glory],
etc.<
35
Ibid., p. 48.
36
Ibid., pp.
123-124.
37
Ibid., pp. 23-24, 26.
>,Ainsi,
soit
que
ten-
dre,
soient
qu'ils
soient
impetueux
ou
lanquissans,
les Italians
l'em-
portent egalement
sur les
Frangois:
mais ils
font, par
desus
cela, une
chose
que
ny
les musiciens
Francois, ny
Na-
jamais sgu faire;
car ils unissent
quelques
fois d'une maniere
surprenant,
>Thus,
lively
or tender
character,
or whether
they
are
impetuous
or
languid,
the Italians are
superior
in all to the
French;
but
beyond that, they
do one
thing
any
to
do,
because
they
a
surprising way.<
Likewise,
apparently
did not lack
Raguenet
when he
spoke
of Italian
opera:
>et
qu'ils
durent des
cinq
& six
heures,
on ne
jamais;
au lieu
des n6tres
qui
du-
rent la moitie
moins,
il
y
a
tres-peu
de
personnes qui
n'en soient ras-
sasi6es &
qui
ne
s'y ennuyentA.36
>,and although
they
last five and six
hours,
bored,
performances
which last half as
long,
there are few
people
Furthermore,
the whole
problem
simply
to the
'gout'
of either the
performer, composer
nor even these two
styles.
Another
aspect
of this whole
problem
level,
that of
language.
The
general fluency
languages
for
singing purposes
complaint
is one of the
unadaptability
of the French
language by
reason
of the mute
syllables and,
to a lesser
>La
langue
Italienne a un
grand avantage
sur la
langue Frangoise
pour
passages
& des cadences en
paroit
davantage;
au lieu
que
les
Frangois
les font
indifferement
sur toutes
les
voyelles,
sur les
plus
plus sonores;
ils les
diphtongues,
CHAINE,
de
GLOIRE,
& c.*37
>The Italian
language
has a
great advantage
over the French
[lan-
guage]
when
sung.
...
[In Italian]
the
beauty
of the
passage
notes and
the French make
them
[i.
e.
flourishes]
indiscriminately
on all
vowels;
on the most silent
Often,
they
even make them on
diphthongs
[chain]
and 'Gloire'
[Glory],
etc.<
35
Ibid., p. 48.
36
Ibid., pp.
123-124.
37
Ibid., pp. 23-24, 26.
>,Ainsi,
soit
que
ten-
dre,
soient
qu'ils
soient
impetueux
ou
lanquissans,
les Italians
l'em-
portent egalement
sur les
Frangois:
mais ils
font, par
desus
cela, une
chose
que
ny
les musiciens
Francois, ny
Na-
jamais sgu faire;
car ils unissent
quelques
fois d'une maniere
surprenant,
>Thus,
lively
or tender
character,
or whether
they
are
impetuous
or
languid,
the Italians are
superior
in all to the
French;
but
beyond that, they
do one
thing
any
to
do,
because
they
a
surprising way.<
Likewise,
apparently
did not lack
Raguenet
when he
spoke
of Italian
opera:
>et
qu'ils
durent des
cinq
& six
heures,
on ne
jamais;
au lieu
des n6tres
qui
du-
rent la moitie
moins,
il
y
a
tres-peu
de
personnes qui
n'en soient ras-
sasi6es &
qui
ne
s'y ennuyentA.36
>,and although
they
last five and six
hours,
bored,
performances
which last half as
long,
there are few
people
Furthermore,
the whole
problem
simply
to the
'gout'
of either the
performer, composer
nor even these two
styles.
Another
aspect
of this whole
problem
level,
that of
language.
The
general fluency
languages
for
singing purposes
complaint
is one of the
unadaptability
of the French
language by
reason
of the mute
syllables and,
to a lesser
>La
langue
Italienne a un
grand avantage
sur la
langue Frangoise
pour
passages
& des cadences en
paroit
davantage;
au lieu
que
les
Frangois
les font
indifferement
sur toutes
les
voyelles,
sur les
plus
plus sonores;
ils les
diphtongues,
CHAINE,
de
GLOIRE,
& c.*37
>The Italian
language
has a
great advantage
over the French
[lan-
guage]
when
sung.
...
[In Italian]
the
beauty
of the
passage
notes and
the French make
them
[i.
e.
flourishes]
indiscriminately
on all
vowels;
on the most silent
Often,
they
even make them on
diphthongs
[chain]
and 'Gloire'
[Glory],
etc.<
35
Ibid., p. 48.
36
Ibid., pp.
123-124.
37
Ibid., pp. 23-24, 26.
>,Ainsi,
soit
que
ten-
dre,
soient
qu'ils
soient
impetueux
ou
lanquissans,
les Italians
l'em-
portent egalement
sur les
Frangois:
mais ils
font, par
desus
cela, une
chose
que
ny
les musiciens
Francois, ny
Na-
jamais sgu faire;
car ils unissent
quelques
fois d'une maniere
surprenant,
>Thus,
lively
or tender
character,
or whether
they
are
impetuous
or
languid,
the Italians are
superior
in all to the
French;
but
beyond that, they
do one
thing
any
to
do,
because
they
a
surprising way.<
Likewise,
apparently
did not lack
Raguenet
when he
spoke
of Italian
opera:
>et
qu'ils
durent des
cinq
& six
heures,
on ne
jamais;
au lieu
des n6tres
qui
du-
rent la moitie
moins,
il
y
a
tres-peu
de
personnes qui
n'en soient ras-
sasi6es &
qui
ne
s'y ennuyentA.36
>,and although
they
last five and six
hours,
bored,
performances
which last half as
long,
there are few
people
Furthermore,
the whole
problem
simply
to the
'gout'
of either the
performer, composer
nor even these two
styles.
Another
aspect
of this whole
problem
level,
that of
language.
The
general fluency
languages
for
singing purposes
complaint
is one of the
unadaptability
of the French
language by
reason
of the mute
syllables and,
to a lesser
>La
langue
Italienne a un
grand avantage
sur la
langue Frangoise
pour
passages
& des cadences en
paroit
davantage;
au lieu
que
les
Frangois
les font
indifferement
sur toutes
les
voyelles,
sur les
plus
plus sonores;
ils les
diphtongues,
CHAINE,
de
GLOIRE,
& c.*37
>The Italian
language
has a
great advantage
over the French
[lan-
guage]
when
sung.
...
[In Italian]
the
beauty
of the
passage
notes and
the French make
them
[i.
e.
flourishes]
indiscriminately
on all
vowels;
on the most silent
Often,
they
even make them on
diphthongs
[chain]
and 'Gloire'
[Glory],
etc.<
35
Ibid., p. 48.
36
Ibid., pp.
123-124.
37
Ibid., pp. 23-24, 26.
83 83 83 83 83 83
84 E. HEHR, FRENCH VIEW OF 18TH-CENT. SINGtNG STYLES, IRASM 16 (1985), 1,
73-85
73-85
73-85
73-85
73-85
73-85
Yet Le Cerf de la
Vieville, despite
his
acknowledgment
of this
vexing
aspect,
does not concur that
language
was a valid excuse for the
problem
of
ornamentation,
but rather that the obvious
linguistic advantages
found
in the Italian
language only
hid the
inappropriateness
of uncurbed
ornamentation:
?Je ne nierai
point que
les Italiens
n'ayent plus
de facilite
que
nous
a faire des
passages
& des cadences sur la
plupart
de leurs
voyelles,
et
je
vous avouverai encore de bonne foi
que je
conviens avec Mr. l'Abbe
R.
que
nos
diphtongues,
COMME DANS LES MOTS
GLOIRE,
CHAI-
NE & C. font un son
confus,
assez
peu propres
aux
passages
& aux
cadences: mais
je repons que
tous ces roulemens, tous
ces
passages.
etant des
agremens
peu
naturels & dont il ne
faut
user
qu'avec
so-
briete,
c'est un fort
petit desavantage pour
notre
Langue que
de
n'y
etre
pas
si
propre que l'Italienne,
a
qui
cet
avantage-la
a ete & est
encore bien funeste.,<38
>I will not
deny
at all that the Italians do not have
greater
ease than
we do in
making
runs and trills on most of their
vowels,
and I likewise
will admit in all
sincerity
that I
agree
with Mr. l'Abbe R. that our
diphthongs,
as in the words
'Gloire', 'Chaine', etc.,
cause a
confusing
sound, hardly fitting
for runs and
trills;
but I
reply
that all these
flourishes,
all these
runs,
are
hardly
natural ornaments and should not
be used
except
in
moderation;
it is a
very slight disadvantage
for our
language
to be less well suited for this than
Italian,
in which this
advantage
has been and continues to be
truly
fatal.<
Despite
the reluctance of most French writers to
forgive
their Italian
rivals for a more
flamboyant, free-style ornamentation, they
nonetheless
find it hard to
deny
the success of this unhindered inventiveness.
Though
the
following example
derives its
origin
from a visit to
Italy, Raguenet
acknowledges
the
spontaneous approval
that the Italian musicians received
there when he wrote:
>on ne
peut
souvent se contenir
jusqu'au bout,
on
interrompt
le Musi-
cien
par
les cris &
par
des
applaudissemens infinis;
la
Musique
Ita-
lienne
produit,
tous les
jours,
ces
effets;
il
n'y
a
personne
de ceux
qui
ont
voyage
en Italie
qui
n'en ait ete mille fois
temoin;
on n'a
jamais
rien de semblable en aucun autre
pais;<a39
>it often is not
possible
to control oneself until the
end,
the musician
is
interrupted by
shouts and
unending applause. Every day,
Italian
music
produces
these effects. There is no one who has travelled in
Italy
who has not witnessed this a thousand times. There is
nothing
like it in
any
other
country.<
Finally,
Blainville, again
like
others,
sums
up
his
thoughts by making
a distinct difference between two
totally opposite
kinds of music and not
just
two different
ways
of
performing
it.
Yet Le Cerf de la
Vieville, despite
his
acknowledgment
of this
vexing
aspect,
language
problem
of
ornamentation,
found
in the Italian
language only
hid the
inappropriateness
of uncurbed
ornamentation:
?Je ne nierai
point que
les Italiens
n'ayent plus
de facilite
que
nous
a faire des
passages
plupart
de leurs
voyelles,
et
je
que je
R.
que
nos
diphtongues,
COMME DANS LES MOTS
GLOIRE,
CHAI-
NE & C. font un son
confus,
assez
peu propres
aux
passages
& aux
cadences: mais
je repons que
ces
passages.
etant des
agremens
peu
faut
user
qu'avec
so-
briete,
c'est un fort
notre
Langue que
de
n'y
etre
pas
si
a
qui
cet
avantage-la
a ete & est
>I will not
deny
greater
ease than
we do in
making
vowels,
and I likewise
will admit in all
sincerity
that I
agree
diphthongs,
as in the words
cause a
confusing
for runs and
trills;
but I
reply
that all these
flourishes,
all these
runs,
are
hardly
be used
except
in
moderation;
it is a
for our
language
Italian,
in which this
advantage
truly
fatal.<
Despite
forgive
their Italian
rivals for a more
nonetheless
find it hard to
deny
Though
the
following example
derives its
origin
from a visit to
Italy, Raguenet
acknowledges
the
>on ne
peut
souvent se contenir
jusqu'au bout,
on
interrompt
le Musi-
cien
par
les cris &
par
des
la
Musique
Ita-
lienne
produit,
tous les
jours,
ces
effets;
il
n'y
a
personne
de ceux
qui
ont
voyage
en Italie
qui
temoin;
on n'a
jamais
pais;<a39
>it often is not
possible
end,
the musician
is
interrupted by
shouts and
Italian
music
produces
Italy
nothing
like it in
any
other
country.<
Finally,
Blainville, again
like
others,
sums
up
his
thoughts by making
totally opposite
just
two different
ways
of
performing
it.
Yet Le Cerf de la
Vieville, despite
his
acknowledgment
of this
vexing
aspect,
language
problem
of
ornamentation,
found
in the Italian
language only
hid the
inappropriateness
of uncurbed
ornamentation:
?Je ne nierai
point que
les Italiens
n'ayent plus
de facilite
que
nous
a faire des
passages
plupart
de leurs
voyelles,
et
je
que je
R.
que
nos
diphtongues,
COMME DANS LES MOTS
GLOIRE,
CHAI-
NE & C. font un son
confus,
assez
peu propres
aux
passages
& aux
cadences: mais
je repons que
ces
passages.
etant des
agremens
peu
faut
user
qu'avec
so-
briete,
c'est un fort
notre
Langue que
de
n'y
etre
pas
si
a
qui
cet
avantage-la
a ete & est
>I will not
deny
greater
ease than
we do in
making
vowels,
and I likewise
will admit in all
sincerity
that I
agree
diphthongs,
as in the words
cause a
confusing
for runs and
trills;
but I
reply
that all these
flourishes,
all these
runs,
are
hardly
be used
except
in
moderation;
it is a
for our
language
Italian,
in which this
advantage
truly
fatal.<
Despite
forgive
their Italian
rivals for a more
nonetheless
find it hard to
deny
Though
the
following example
derives its
origin
from a visit to
Italy, Raguenet
acknowledges
the
>on ne
peut
souvent se contenir
jusqu'au bout,
on
interrompt
le Musi-
cien
par
les cris &
par
des
la
Musique
Ita-
lienne
produit,
tous les
jours,
ces
effets;
il
n'y
a
personne
de ceux
qui
ont
voyage
en Italie
qui
temoin;
on n'a
jamais
pais;<a39
>it often is not
possible
end,
the musician
is
interrupted by
shouts and
Italian
music
produces
Italy
nothing
like it in
any
other
country.<
Finally,
Blainville, again
like
others,
sums
up
his
thoughts by making
totally opposite
just
two different
ways
of
performing
it.
Yet Le Cerf de la
Vieville, despite
his
acknowledgment
of this
vexing
aspect,
language
problem
of
ornamentation,
found
in the Italian
language only
hid the
inappropriateness
of uncurbed
ornamentation:
?Je ne nierai
point que
les Italiens
n'ayent plus
de facilite
que
nous
a faire des
passages
plupart
de leurs
voyelles,
et
je
que je
R.
que
nos
diphtongues,
COMME DANS LES MOTS
GLOIRE,
CHAI-
NE & C. font un son
confus,
assez
peu propres
aux
passages
& aux
cadences: mais
je repons que
ces
passages.
etant des
agremens
peu
faut
user
qu'avec
so-
briete,
c'est un fort
notre
Langue que
de
n'y
etre
pas
si
a
qui
cet
avantage-la
a ete & est
>I will not
deny
greater
ease than
we do in
making
vowels,
and I likewise
will admit in all
sincerity
that I
agree
diphthongs,
as in the words
cause a
confusing
for runs and
trills;
but I
reply
that all these
flourishes,
all these
runs,
are
hardly
be used
except
in
moderation;
it is a
for our
language
Italian,
in which this
advantage
truly
fatal.<
Despite
forgive
their Italian
rivals for a more
nonetheless
find it hard to
deny
Though
the
following example
derives its
origin
from a visit to
Italy, Raguenet
acknowledges
the
>on ne
peut
souvent se contenir
jusqu'au bout,
on
interrompt
le Musi-
cien
par
les cris &
par
des
la
Musique
Ita-
lienne
produit,
tous les
jours,
ces
effets;
il
n'y
a
personne
de ceux
qui
ont
voyage
en Italie
qui
temoin;
on n'a
jamais
pais;<a39
>it often is not
possible
end,
the musician
is
interrupted by
shouts and
Italian
music
produces
Italy
nothing
like it in
any
other
country.<
Finally,
Blainville, again
like
others,
sums
up
his
thoughts by making
totally opposite
just
two different
ways
of
performing
it.
Yet Le Cerf de la
Vieville, despite
his
acknowledgment
of this
vexing
aspect,
language
problem
of
ornamentation,
found
in the Italian
language only
hid the
inappropriateness
of uncurbed
ornamentation:
?Je ne nierai
point que
les Italiens
n'ayent plus
de facilite
que
nous
a faire des
passages
plupart
de leurs
voyelles,
et
je
que je
R.
que
nos
diphtongues,
COMME DANS LES MOTS
GLOIRE,
CHAI-
NE & C. font un son
confus,
assez
peu propres
aux
passages
& aux
cadences: mais
je repons que
ces
passages.
etant des
agremens
peu
faut
user
qu'avec
so-
briete,
c'est un fort
notre
Langue que
de
n'y
etre
pas
si
a
qui
cet
avantage-la
a ete & est
>I will not
deny
greater
ease than
we do in
making
vowels,
and I likewise
will admit in all
sincerity
that I
agree
diphthongs,
as in the words
cause a
confusing
for runs and
trills;
but I
reply
that all these
flourishes,
all these
runs,
are
hardly
be used
except
in
moderation;
it is a
for our
language
Italian,
in which this
advantage
truly
fatal.<
Despite
forgive
their Italian
rivals for a more
nonetheless
find it hard to
deny
Though
the
following example
derives its
origin
from a visit to
Italy, Raguenet
acknowledges
the
>on ne
peut
souvent se contenir
jusqu'au bout,
on
interrompt
le Musi-
cien
par
les cris &
par
des
la
Musique
Ita-
lienne
produit,
tous les
jours,
ces
effets;
il
n'y
a
personne
de ceux
qui
ont
voyage
en Italie
qui
temoin;
on n'a
jamais
pais;<a39
>it often is not
possible
end,
the musician
is
interrupted by
shouts and
Italian
music
produces
Italy
nothing
like it in
any
other
country.<
Finally,
Blainville, again
like
others,
sums
up
his
thoughts by making
totally opposite
just
two different
ways
of
performing
it.
Yet Le Cerf de la
Vieville, despite
his
acknowledgment
of this
vexing
aspect,
language
problem
of
ornamentation,
found
in the Italian
language only
hid the
inappropriateness
of uncurbed
ornamentation:
?Je ne nierai
point que
les Italiens
n'ayent plus
de facilite
que
nous
a faire des
passages
plupart
de leurs
voyelles,
et
je
que je
R.
que
nos
diphtongues,
COMME DANS LES MOTS
GLOIRE,
CHAI-
NE & C. font un son
confus,
assez
peu propres
aux
passages
& aux
cadences: mais
je repons que
ces
passages.
etant des
agremens
peu
faut
user
qu'avec
so-
briete,
c'est un fort
notre
Langue que
de
n'y
etre
pas
si
a
qui
cet
avantage-la
a ete & est
>I will not
deny
greater
ease than
we do in
making
vowels,
and I likewise
will admit in all
sincerity
that I
agree
diphthongs,
as in the words
cause a
confusing
for runs and
trills;
but I
reply
that all these
flourishes,
all these
runs,
are
hardly
be used
except
in
moderation;
it is a
for our
language
Italian,
in which this
advantage
truly
fatal.<
Despite
forgive
their Italian
rivals for a more
nonetheless
find it hard to
deny
Though
the
following example
derives its
origin
from a visit to
Italy, Raguenet
acknowledges
the
>on ne
peut
souvent se contenir
jusqu'au bout,
on
interrompt
le Musi-
cien
par
les cris &
par
des
la
Musique
Ita-
lienne
produit,
tous les
jours,
ces
effets;
il
n'y
a
personne
de ceux
qui
ont
voyage
en Italie
qui
temoin;
on n'a
jamais
pais;<a39
>it often is not
possible
end,
the musician
is
interrupted by
shouts and
Italian
music
produces
Italy
nothing
like it in
any
other
country.<
Finally,
Blainville, again
like
others,
sums
up
his
thoughts by making
totally opposite
just
two different
ways
of
performing
it.
38
J.-L. LE
CERF, op. cit.,
tome
II, pp.
22-23.
39
F.
RAGUENET, op. cit., p.
59.
38
J.-L. LE
CERF, op. cit.,
tome
II, pp.
22-23.
39
F.
59.
38
J.-L. LE
CERF, op. cit.,
tome
II, pp.
22-23.
39
F.
59.
38
J.-L. LE
CERF, op. cit.,
tome
II, pp.
22-23.
39
F.
59.
38
J.-L. LE
CERF, op. cit.,
tome
II, pp.
22-23.
39
F.
59.
38
J.-L. LE
CERF, op. cit.,
tome
II, pp.
22-23.
39
F.
59.
>,L'un vaut mieux
pour
les
exagerations
fortes & les
grandes passions,
les
grands images, quand
ii faut, pour
ainsi
dire,
etonner l'auditeur.
L'autre
suave,
&
tranquille, par
une abondance
egale
est
meilleur,
si
l'on
peut dire,
a
repandre
une douce &
agreable
rosee dans les
esprits.
Enfin, pour
dire en un
mot,
ce
sent
2 rivals
qui
subsisteront
toujours
par
la raison m.me de leur
opposition.,40
>,The
one
[Italian]
is better for
strong exaggerations, great passions,
grand images,
when it is
necessary,
so to
speak,
to
surprise
the listener.
The other
[French],
suave and
calm,
in
equal
abundance is
better,
if
one is
permitted
to
say,
to diffuse a sweet and
pleasant
dew in the
soul. In other
words, they
are two rivals which
always
will exist for
the
very
reason of their contrast.<
Not to read at least a few of the
eighteenth-century
texts is an un-
fortunate lack for
any
modern
performer
of this
repertory. They give
specific information,
but even more
important, they provide
an
insight
into national
distinctions,
the limits of a
performer's liberties,
and the
contemporary
view of the roles of
imagination
and 'le bon
gouit'
so
typical
of the Italian vs. French
singing styles
of the
eighteenth century.
Sazetak
KAKO SU FRANCUZI SHVACALI RAZLIKE IZMEDU FRANCUSKOG
I TALIJANSKOG STILA PJEVANJA U 18. STOLJECU
>Guerre des Bouffons- u
Francuskoj
u 18.
stoljedu
bila
je
cesto
predmet
istrazi-
vanja.
No ta se
rasprava
u
mnogo manjoj mjeri ispitivala
kao dokaz o razlikama
izmedu
francuskog
i
talijanskog
stila
pjevanja.
Francuski stil
je priznavao
sklonost
spram
nacina
koji je predstavljao izvjesnu prirodnost
i
otmjenost,
sto
je
bilo izravno
suprotno talijanskom nagnudu spram ekstravagantnih razmetanja
i
iznenadenja.
Fran-
cuski su
pisci
tretirali
ornamentaciju
za
pjevace
sa
stajalista
i vokalne tehnike i
pri-
kladne
primjene.
Oni su takoder
postavljali pitanja
o
jezidkim varijantama, pa
dak
i
psiholo?kim
razlikama. Premda
djelomice
nisu
mogli izbjeci zaintrigiranost talijan-
skom
sklonodcu prema rascvjetalosti,
Francuzi su
ipak
nalazili da
je nemoguce uklju-
5iti
taj
stil u
njihovu ideju -dobrog ukusa<.
>,L'un vaut mieux
pour
les
exagerations
fortes & les
grandes passions,
les
ii faut, pour
ainsi
dire,
etonner l'auditeur.
L'autre
suave,
&
tranquille, par
une abondance
egale
est
meilleur,
si
l'on
peut dire,
a
repandre
une douce &
agreable
rosee dans les
esprits.
Enfin, pour
dire en un
mot,
ce
sent
2 rivals
qui
subsisteront
toujours
par
opposition.,40
>,The
one
[Italian]
is better for
grand images,
when it is
necessary,
so to
speak,
to
surprise
the listener.
The other
[French],
suave and
calm,
in
equal
abundance is
better,
if
one is
permitted
to
say,
pleasant
dew in the
soul. In other
words, they
always
will exist for
the
very
eighteenth-century
texts is an un-
fortunate lack for
any
modern
performer
of this
but even more
an
insight
into national
distinctions,
the limits of a
and the
contemporary
imagination
and 'le bon
gouit'
so
typical
singing styles
of the
eighteenth century.
Sazetak
Francuskoj
u 18.
stoljedu
bila
je
cesto
predmet
istrazi-
vanja.
No ta se
rasprava
u
izmedu
francuskog
i
talijanskog
stila
pjevanja.
Francuski stil
je priznavao
sklonost
spram
nacina
i
otmjenost,
sto
je
bilo izravno
i
iznenadenja.
Fran-
cuski su
pisci
tretirali
ornamentaciju
za
pjevace
sa
stajalista
i vokalne tehnike i
pri-
kladne
primjene.
Oni su takoder
postavljali pitanja
o
dak
i
psiholo?kim
razlikama. Premda
djelomice
nisu
skom
Francuzi su
ipak
nalazili da
je nemoguce uklju-
5iti
taj
stil u
>,L'un vaut mieux
pour
les
exagerations
fortes & les
grandes passions,
les
ii faut, pour
ainsi
dire,
etonner l'auditeur.
L'autre
suave,
&
tranquille, par
une abondance
egale
est
meilleur,
si
l'on
peut dire,
a
repandre
une douce &
agreable
rosee dans les
esprits.
Enfin, pour
dire en un
mot,
ce
sent
2 rivals
qui
subsisteront
toujours
par
opposition.,40
>,The
one
[Italian]
is better for
grand images,
when it is
necessary,
so to
speak,
to
surprise
the listener.
The other
[French],
suave and
calm,
in
equal
abundance is
better,
if
one is
permitted
to
say,
pleasant
dew in the
soul. In other
words, they
always
will exist for
the
very
eighteenth-century
texts is an un-
fortunate lack for
any
modern
performer
of this
but even more
an
insight
into national
distinctions,
the limits of a
and the
contemporary
imagination
and 'le bon
gouit'
so
typical
singing styles
of the
eighteenth century.
Sazetak
Francuskoj
u 18.
stoljedu
bila
je
cesto
predmet
istrazi-
vanja.
No ta se
rasprava
u
izmedu
francuskog
i
talijanskog
stila
pjevanja.
Francuski stil
je priznavao
sklonost
spram
nacina
i
otmjenost,
sto
je
bilo izravno
i
iznenadenja.
Fran-
cuski su
pisci
tretirali
ornamentaciju
za
pjevace
sa
stajalista
i vokalne tehnike i
pri-
kladne
primjene.
Oni su takoder
postavljali pitanja
o
dak
i
psiholo?kim
razlikama. Premda
djelomice
nisu
skom
Francuzi su
ipak
nalazili da
je nemoguce uklju-
5iti
taj
stil u
>,L'un vaut mieux
pour
les
exagerations
fortes & les
grandes passions,
les
ii faut, pour
ainsi
dire,
etonner l'auditeur.
L'autre
suave,
&
tranquille, par
une abondance
egale
est
meilleur,
si
l'on
peut dire,
a
repandre
une douce &
agreable
rosee dans les
esprits.
Enfin, pour
dire en un
mot,
ce
sent
2 rivals
qui
subsisteront
toujours
par
opposition.,40
>,The
one
[Italian]
is better for
grand images,
when it is
necessary,
so to
speak,
to
surprise
the listener.
The other
[French],
suave and
calm,
in
equal
abundance is
better,
if
one is
permitted
to
say,
pleasant
dew in the
soul. In other
words, they
always
will exist for
the
very
eighteenth-century
texts is an un-
fortunate lack for
any
modern
performer
of this
but even more
an
insight
into national
distinctions,
the limits of a
and the
contemporary
imagination
and 'le bon
gouit'
so
typical
singing styles
of the
eighteenth century.
Sazetak
Francuskoj
u 18.
stoljedu
bila
je
cesto
predmet
istrazi-
vanja.
No ta se
rasprava
u
izmedu
francuskog
i
talijanskog
stila
pjevanja.
Francuski stil
je priznavao
sklonost
spram
nacina
i
otmjenost,
sto
je
bilo izravno
i
iznenadenja.
Fran-
cuski su
pisci
tretirali
ornamentaciju
za
pjevace
sa
stajalista
i vokalne tehnike i
pri-
kladne
primjene.
Oni su takoder
postavljali pitanja
o
dak
i
psiholo?kim
razlikama. Premda
djelomice
nisu
skom
Francuzi su
ipak
nalazili da
je nemoguce uklju-
5iti
taj
stil u
>,L'un vaut mieux
pour
les
exagerations
fortes & les
grandes passions,
les
ii faut, pour
ainsi
dire,
etonner l'auditeur.
L'autre
suave,
&
tranquille, par
une abondance
egale
est
meilleur,
si
l'on
peut dire,
a
repandre
une douce &
agreable
rosee dans les
esprits.
Enfin, pour
dire en un
mot,
ce
sent
2 rivals
qui
subsisteront
toujours
par
opposition.,40
>,The
one
[Italian]
is better for
grand images,
when it is
necessary,
so to
speak,
to
surprise
the listener.
The other
[French],
suave and
calm,
in
equal
abundance is
better,
if
one is
permitted
to
say,
pleasant
dew in the
soul. In other
words, they
always
will exist for
the
very
eighteenth-century
texts is an un-
fortunate lack for
any
modern
performer
of this
but even more
an
insight
into national
distinctions,
the limits of a
and the
contemporary
imagination
and 'le bon
gouit'
so
typical
singing styles
of the
eighteenth century.
Sazetak
Francuskoj
u 18.
stoljedu
bila
je
cesto
predmet
istrazi-
vanja.
No ta se
rasprava
u
izmedu
francuskog
i
talijanskog
stila
pjevanja.
Francuski stil
je priznavao
sklonost
spram
nacina
i
otmjenost,
sto
je
bilo izravno
i
iznenadenja.
Fran-
cuski su
pisci
tretirali
ornamentaciju
za
pjevace
sa
stajalista
i vokalne tehnike i
pri-
kladne
primjene.
Oni su takoder
postavljali pitanja
o
dak
i
psiholo?kim
razlikama. Premda
djelomice
nisu
skom
Francuzi su
ipak
nalazili da
je nemoguce uklju-
5iti
taj
stil u
>,L'un vaut mieux
pour
les
exagerations
fortes & les
grandes passions,
les
ii faut, pour
ainsi
dire,
etonner l'auditeur.
L'autre
suave,
&
tranquille, par
une abondance
egale
est
meilleur,
si
l'on
peut dire,
a
repandre
une douce &
agreable
rosee dans les
esprits.
Enfin, pour
dire en un
mot,
ce
sent
2 rivals
qui
subsisteront
toujours
par
opposition.,40
>,The
one
[Italian]
is better for
grand images,
when it is
necessary,
so to
speak,
to
surprise
the listener.
The other
[French],
suave and
calm,
in
equal
abundance is
better,
if
one is
permitted
to
say,
pleasant
dew in the
soul. In other
words, they
always
will exist for
the
very
eighteenth-century
texts is an un-
fortunate lack for
any
modern
performer
of this
but even more
an
insight
into national
distinctions,
the limits of a
and the
contemporary
imagination
and 'le bon
gouit'
so
typical
singing styles
of the
eighteenth century.
Sazetak
Francuskoj
u 18.
stoljedu
bila
je
cesto
predmet
istrazi-
vanja.
No ta se
rasprava
u
izmedu
francuskog
i
talijanskog
stila
pjevanja.
Francuski stil
je priznavao
sklonost
spram
nacina
i
otmjenost,
sto
je
bilo izravno
i
iznenadenja.
Fran-
cuski su
pisci
tretirali
ornamentaciju
za
pjevace
sa
stajalista
i vokalne tehnike i
pri-
kladne
primjene.
Oni su takoder
postavljali pitanja
o
dak
i
psiholo?kim
razlikama. Premda
djelomice
nisu
skom
Francuzi su
ipak
nalazili da
je nemoguce uklju-
5iti
taj
stil u
40
Ch. H. de
BLAINVILLE, op. cit., p.
47.
40
Ch. H. de
47.
40
Ch. H. de
47.
40
Ch. H. de
47.
40
Ch. H. de
47.
40
Ch. H. de
47.
85 85 85 85 85 85

French and Italian Sing Styles

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French and Italian Sing Styles

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How the French Viewed the Differences between French and Italian Singing Styles of the

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