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'proportionably as the people are grave. Lully only changed a bad manner, which he found, for a bad one of his own. His drowsy pieces are played still to the most sprightly audience that can be conceived; and even though Rameau, who is at once a musician and a philosopher, has shewn both by precept and example, what improvements French music may still admit of, yet his countrymen seem little convinced by his reasonings; and the Pont-neuf taste, as it is called, still prevails in their best perfor

mances.

The English school was first planned by Purcell; he attempted to unite the Italian manner, that prevaled in his time, with the antient Celtic carol and the Scotch ballad, which probably had also its origin in Italy; for some of the best Scotch ballads ("The Broom of Cowdenknows," for instance) are still ascribedto David Rizzio. But be that as it will, his manner was something peculiar to the English; and he might have continued as head of the English school, had not his merits been entirely eclipsed by Handel. Handel, though originally a German, yet adopted the English manner; he had long laboured to please by Italian composition, but without success; and though his English Oratorios are accounted inimitable, yet his Italian Operas are fallen into oblivion. Pergolese excelled in passionate simplicity; Lully was remarkable for creating a new species of music, where all is elegant, but nothing passionate or sublime; Handel'strue characteristic is sublimity; he has employed all the variety of sounds and parts I in all his pieces: the performances of the rest may ...be be pleasing, though executed by few performers; his require the full band. The attention is awakened, the soul is roused up at his pieces; but distinct passion is seldom expressed. In this particular he has seldom

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(as most certainly he was, and continued so to his last breath), yet adopted the English manner. Yes, to be sure, just as much as Rubens the painter did. Your correspondent, in the course of his discoveries, tells us besides that some of the best Scotch ballads ("The Broom of Cowdenknows," for instance) are still ascribed to David Rizziot. This Rizzio must have been a most original genius, or have possessed extraordinary imitative powers, to have come, so advanced in life as he did, from Italy, and strike so far out of the common road of his own country's musick.

• Handel was originally a German; but by a long conti nuance in England he might have been looked upon as natu ⚫ralized to the country. I don't pretend to be a fine writer: however, if the gentleman dislikes the expression (although he must be convinced it is a common one), I wish it were mended.

+ I said that they were ascribed to David Rizzio. That they are, the Objector need only look into Mr. Oswald's Collection ofcotch Tunes, and he will there find not only The Broom of Cowdenknows, but also The Black Eagle, and several other of the best Scotch tunes ascribed to him. Though this might be a .sufficient answer, yet I must be permitted to go farther, to tell the Objector the opinion of our best modern musicians in this particular. It is the opinion of the melodious Germiniani, that we have in the dominions of Great Britain mo original music, except the Irish; the Scotch and English being originally bor rowed from the Italians. And that his opinion in this respect is just (for I would not be swayed merely by authorities), it is very reasonable to suppose, first, from the conformity between the Scotch and antient Italian music. They, who compare the old French Vaudevilles, brought from Italy by Rinuccini with those pieces ascribed to David Rizzio, who was pretty nearly cotem porary with him, will find a strong resemblance, notwithstanding ing the opposite characters of the two nations, which have pre served those pieces. When I would have them compared, I mean I would have their bases compared, by which the simili tude may be most exactly seen. Secondly, it is reasonable from the antient music of the Scotch, which is still preserved in the Highlands, and which bears no resemblance at all to the music of the Low-country. The Highland tunes are sung to Irish words, and flow entirely in the Irish manner. On the other hand, the Lowland music is always sung to English words.

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proportionably as the people are grave. Lully only changed a bad manner, which he found, for a bad one of his own. His drowsy pieces are played still to the most sprightly audience that can be conceived; and even though Rameau, who is at once a musician and a philosopher, has shewn both by precept and example, what improvements French music may still admit of, yet his countrymen seem little convinced by his reasonings; and the Pont-neuf taste, as it is called, still prevails in their best perfor

mances.

The English school was first planned by Purcell ; he attempted to unite the Italian manner, that prevaled in his time, with the antient Celtic carol and the Scotch ballad, which probably had also its origin in Italy; for some of the best Scotch ballads ("The Broom of Cowdenknows," for instance) are still ascribed to David Rizzio. But be that as it will, his manner was something peculiar to the English; and he might have continued as head of the English school, had not his merits been entirely eclipsed by Handel. Handel, though originally a German, yet adopted the English manner; he had long laboured to please by Italian composition, but without success; and though his English Oratorios are accounted inimitable, yet his Italian Operas are fallen into oblivion. Pergolese excelled in passionate simplicity; Lully was remarkable for creating a new species of music, where all is elegant, but nothing passionate or sublime; Handel'strue characteristic is sublimity; he has employed all the variety of sounds and parts in all his pieces: the performances of the rest may be pleasing, though executed by few performers; his require the full band. The attention is awakened, the soul is roused up at his pieces; but distinct passion is seldom expressed. In this particular.. he has

seldom

.

8

(as most certainly he was, and continued so to his last breath), yet adopted the English manner*. Yes, to be sure, just as much as Rubens the painter did. Your correspondent, in the course of his discoveries, tells us besides that some of the best Scotch ballads ("The Broom of Cowdenknows," for instance) are still ascribed to David Rizziot. This Rizzio must have been a most original genius, or have possessed extraordinary imitative powers, to have come, so advanced in life as he did, from Italy, and strike so far out of the common road of his own country's musick.

* Handel was originally a German; but by a long continuance in England he might have been looked upon as naturalized to the country. I don't pretend to be a fine writer: however, if the gentleman dislikes the expression (although he must be convinced it is a common one), I wish it were mended.

I said that they were ascribed to David Rizzio. That they are, the Objector need only look into Mr. Oswald's Collection of Scotch Tunes, and he will there find not only The Broom of Cowdenknows, but also The Black Eagle, and several other of the best Scotch tunes ascribed to him. Though this might be a sufficient answer, yet I must be permitted to go farther, to tell the Objector the opinion of our best modern musicians in this particular. It is the opinion of the melodious Germiniani, that we have in the dominions of Great Britain no original music, except the Irish; the Scotch and English being originally borrowed from the Italians. And that his opinion in this respect is just (for I would not be swayed merely by authorities), it is very reasonable to suppose, first, from the conformity between the Scotch and antient Italian music. They, who compare the old French Vaudevilles, brought from Italy by Rinuccini with those pieces ascribed to David Rizzio, who was pretty nearly cotem porary with him, will find a strong resemblance, notwithstanding ing the opposite characters of the two nations, which have preserved those pieces. When I would have them compared, I mean I would have their bases compared, by which the similitude' may be most exactly seen. Secondly, it is reasonable from the antient music of the Scotch, which is still preserved in the Highlands, and which bears no resemblance at all to the music of the Low-country, The Highland tunes are sung to Irish words, and flow entirely in the Irish manner. On the other hand, the Lowland music is always sung to English words.

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A mere fiddler*, a shallow coxcomb, a giddy, insolent, worthless fellow, to compose such pieces as nothing but genuine sensibility of mind, and an exquisite feeling of those passions, which animate only the finest souls, could dictate; and in a manner too so extravagantly distant from that, to which he had all his life been accustomed!-It is imposible. ---He might indeed have had presumption enough to add some flourishes to a few favourite airs, like a cobler of old plays, when he takes it upon him to mend Shakspeare. So far he might go; but farther it is impossible for any one to believe, that has but just ear enough to distinguish between the Italian and Scotch music, and is disposed to consider the subject with the least degree of attention. March 18, 1760.

S. R.

ESSAY XX.

THERE can be perhaps no greater entertainment than to compare the rude Celtic simplicity with modern refinement. Books however seem incapable of furnishing the parallel; and to be acquainted

David Rizzio was neither a mere fiddler, nor a shallow coxcomb, nor a worthless fellow, nor a stranger in Scotland. He had indeed been brought over from Piedmont, to be put at the head of a band of music, by King James V. one of the most elegant princes of his time, an exquisite judge of music, as well as of poetry, architecture, and all the fine arts. Rizzio, at the time of his death, had been above twenty years in Scotland: he was secretary to the queen, and at the same time an agent from the pope; so that he could not be so obscure as he has been represented.

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