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CASION FOR PILLAGING THE GOODS, AND FOR CARRYING OFF THE MATERIALS OF THEIR NEIGHBOUR'S HOUSE. "Some fought an acceffion of frength at the expence of France; fome at the expence of each other; fome at the expence of third parties." "THERE

COULD BE NO TIE OF HONOUR IN A SOCIETY FOR PILLAGE!" Letters on a peace, &c. page 146, 148, 149. Such a picture, drawn by the hand of a great mafter, we shall not prefume to deface by any touch of ours.-England, under pretence of restoring order in France, aimed at the acquifition of Dunkirk and the colonies, Auftria, with the fame profeffions, at the conqueft of Flanders and Alface. The Emprefs of Ruffia, because the was too remote to make conquefts from France, plotted and perpetrated the robbery of Poland, and confulted the intereft of her ambition and her greatnefs by encouraging her moft formidable rivals to waste and exhauft their ftrength. The motives were fimilar, the conduct was of the fame fort, the morality was equal, and the confummate skill and mafterly policy of the Emprefs Catherine have vindicated the fuperiority of her exalted genius, above the puny intriguers, to whem in this crifis of the fate of Europe, heaven, for the punishment of our offences, has committed the management of the affairs of pations. She was more politic than her allies, and as honeft.

Catherine II. after a reign of 34 years, during all which time he enjoyed an uninterrupted flow of excellent health, complained, on the 4th of November, O. S. towards the evening, of fome flight -pain in the bowels, which ufually accompanied a gentle diarrhoea to which the was occafionally fubje&t, and which the regarded, with much reafen, as a principal caufe of her continual health. Next morning, November 5th, O. S. her principal femme de chambre, Maria Savishna, made the ufual inquiries concerning her Majefty's health, and how the had paffed the night, when Catherine affured her that the never was better, nor had ever enjoyed a more found repofe, defiring, as he lay yet in bed, to know what fort of weather reigned abroad; and being anfwered, a gentle froft of two degrees, with fnow, her Majefty exclaimed, that fhe could have almoft divined that to be the cafe, as the commonly flept beft in frofty weather. The Emprefs being got up and dreffed, went into her cabi.

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net, after drinking a difh of coffee, to pafs fome time, according to her conftant cuftom, in writing, till the hour of the arrival of her minifters to tranfact bufinefs. About ten o'clock in the forenoon, the first valet de chambre Zachari, being returned from executing a little commiffion on which he had been fent (with papers to prince Zuboff, grand master of the artillery, &c.), not finding her Majefty in her cabinet, after waiting an unutual time for her coming out of her most private clofet, in an inner room, opened the door, as if to go through the large chamber in which it stood, in one corner, within a kind of venetian tent, was furprized to fee her Majesty's feet flicking out of the clofet door, having apparently been ftruck with the fit of apoplexy that killed her, whilft feated on the ftool within, and flipt down from it in this pofition, as her body was found lying between that and the wall, while her feet, as faid above, pushed open the door and appeared without. She languifhed till about ten at night on the 6th, when the expired, without having fhewn the leaft fign of fenfibility from the moment of the accident. On opening her head, a fmall blood-veffel was found burft, the immediate caufe of her death. The faculty, proceeding to open the. corpfe, found a couple of finall gall ftones in the gall bladder, but which could have had little fhare in the death of the Emprefs..

Some were of opinion that the only fainted on the ftool, and that the blood veffel was burft by the fall.-But fuch a fuppofition feemed to the reft unneceffary, as an xtravafation of blood is common in apoplexies.

The day following the new Emperor made his public entry into St. Peterf burgh, amidst the acclamations of all ranks of people. What meafures may be purfued by a Prince whofe talents have never yet, at the age of 42, been called forth either in the cabinet or the field, on coming fuddenly from retreat and filence into the disposal of the treafures and power of that immenfe empire, it is impoffible at prefent to divine; but from the general character of PAUL PETROVITCH, it may be prefumed that he will take that part in the prefent crits which will be moft favourable to the caufe of humanity, by offering his mediation to the belligerent powers, for putting a ftop to the horrid ravages of the prefent cruel and flagitious war. A COM

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A

COMPARISON

BETWEEN THE

ANCIENT AND MODERN STYLES OF MUSIC,

IN WHICH THE

Merits and Demerits of each are respectively pointed out.

SINCE the great revolution in inftrumental mufic, it has been too much the custom in England for mufical amateurs to be prejudiced in favour of one of the two ftyles, either the ancient or the modern, and to reprobate the other. They do this as though the encouragement of both ftyles must neceffarily interfere, or that the one could not poffibly flourish without the extinction of the other. By the new ftyle or fpecies of compofition here alluded to, is meant that of the modern fymphony, in which ftring and wind inftruments are mixed together, and that of the folo-concerto, concertante, &c. as oppofed to the ancient style of overtures on Lully's plan, and of full concertos with repieno parts for ftring inftruments exclufively. This revolution in mufic feems to have been chiefly occafioned by a more general knowledge of the powers and effects of wind inftruments.

The partial attachment of amateurs to one ftyle has, perhaps, been too much countenanced by the managers of the principal fubfcription concerts in London, who always adhere entirely either to the ancient or the modern ftyle, and do not admit of a mixture of both. On fuch conduct I cannot but remark, that if the managers of the Concert of Ancient Mufic with to discountenance the modern ftyle of compofition, and to encourage the ancient, by fuffering no piece of music to be performed that has not been compofed within a limited number of years, they entirely fruftrate their own defign. What compofer, how ever, attached to, or capable of writing in the ancient ftyle (of which there are doubtless many in the metropolis) can have the leaft encouragement to do fo, whilft his works must neceffarily be rejected at both the above mentioned concerts; at thofe of modern mufic, on account of its antique ftyle, and at thofe of ancient mufic, because recently compofed. Such mufic, however excellent, can, therefore, only be performed at the inferior concerts, or at benefits. In thefe the profiting parties always find it SUP. to MONTHLY MAG. Vol. II.

their intereft to blend the two styles together, with a view to accommodate all taftes. They take efpecial care to prefent the votaries of each ftyle with a few pieces adapted to their feveral taftes, without regard to the other pieces; and, in confequence, produce, by this variety and contraft, much greater fatisfaction to nine-tenths of the audience.

With regard to the votaries of the two ftyles, I have always obferved that elderly people are generally the most attached to the ancient, and young people to the modern mufic. The reafon for which, the former will, perhaps, affert to be obvious, and that people of experience and mature judgment will naturally prefer the good folid harmony of the ancient fyftem to the light and trifling mufic of the new.

Perhaps, however, there may be other reasons for this preference, at least equally obvious. People who have been long accustomed or confined to a particular fyftem (as elderly people muft formerly have been), efpecially if they are performers, find the modern mufic more difficult in its execution from the mere novelty of the ftyle, and the rapidity with which its allegros and preftos are required to be performed. Thorough bafs players, who have been chiefly used to the works of old authors, object to the reiterated quavers on the fame note, frequently introduced in the modern fymphonies, it being more difficult to read them and to diftinguish one bar from another. Tenor players alfo, who were barely qualified to amuse themselves with the performance of the works of Corelli, Geminiani, Handel, &c. in which that inftrument has always the leaft to execute, find in modern mufic that it is frequently made of equal confequence with the other inftruments, and requires, therefore, much the fame degree of execution and artention.

Another difficulty to performers of moderate abilities occurs in modern mufic, in the want of repieno parts. For merly if a good leading first and fecond violin, and principal bafs, could be pro

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cured, very indifferent players were competent to make up the rest of the orchestra, the principal parts being generally played fingle, whilft the repienos were doubled, or even trebled. In modern mufic, however, all the violins and baffes are generally obliged to take principal parts. Amateurs, therefore, who have applied to mufic as a fecondary amufement, and as fuch have not fpent the greater part of their leifure in the practice of it, nevertheless find themfelves at a lofs, and are difconcerted in not being able to fupport their parts fo well in modern pieces as they did in the ancient.

But though modern music, for these reafons, may not be fo greatly enjoyed, yet furely it by no means follows that it is inferior either in its kind or quality, efpecially finee the apparent difficulties of it are not found to be fo great as to occafion any deficiency of good performers. Those who have principally applied themselves to modern mufic, find it, in fome respects, eafier to perform than the repieno parts of the old concertos, wherein great accuracy is required in counting the refts, and keeping the time in adagios, fugues, &c.

Instead, however, of attempting to determine which of the two ftyles is the beft, or the most rational, I fhall fubjoin a few thoughts on the merits and deme

rits of each.

The ANCIENT MUSIC, in all the claffic authors, abounds with fine harmony fimple melody, and with good and natural modulation. The melody is, however, frequently not confined, as in modern mufic, to a fingle part, to which the others are mere accompaniments, but difperfed throughout all the parts. The fecond violin part is nearly as airy and of as much confequence as the first. The bafs fometimes (particularly in Corelli) is of as much or more confequence than either of the violins; confequently, although a first violin performer may find lefs air in the ancient than in modern mufic, yet the other performers will find more; and to an audience, who judge of the effect from the whole, there will, perhaps (in many pieces that may be felected), feem to be as much air in the ancient ftyle as in the modern, The ancient compofers were alfo, in general, very correct and accurate in their compofitions, particularly with regard to the avoiding of confecutive fifths and eighths, and in attending to uniformity of metre in every Arain.

The demerits of the ancient mufic feem to proceed from the author frequently being content with mere correctness of compofition, and adhering clofely to the fubject, without regard to light and fhade, or to what is understood by modern amateurs, under the general denomination of effect. Many entire movements (and fometimes whole pieces) of ancient compofers, have not a fingle piano marked in them. There is also, from the fame caufe, fometimes a barrennefs of air or melody. They appear to have frequently thought it fufficient that their works fhould poffefs good harmony and claffical accuracy, and ftand the teft of theoretical examination. This, however, at beft, is but negative praife. The fame merits might exift without melody being much attended to; melody being, indeed, of a mere arbitrary nature, cannot be fubjected to those mechanical rules of criticism by which harmony is judged. On thefe accounts many ancient pieces, in which all therules of compofition are more strictly obferved than in many modern pieces, prove dry and uninterefting, and totally devoid of taste and effect.

If in modern mufic harmony be not fo much attended to, nor made fo effential a requifite as in the ancient, yet melody is certainly more regarded, and rendered more diftin&t, from its being generally confined to the uppermost part in the compofition. Though the air is frequently divided among the different parts, as in the ancient ftyle, and is not always engroffed by the firft violin or leading part, ftill whichever part poffeffes the air, or pro tempore takes the lead, that part for the time is ufually the upper one. This certainly renders the air the more predominant and intelligible than where it is inclofed, if I may fo fpeak, between accompaniments.

Greater attention is alfo generally paid by modern compofers to contraft and effect. These they produce, partly by the more general ufe of pianos and fortes, and the introduction of the crefcendo and diminuendo, and partly by the introduction of a greater variety of inftruments than were in common use among the ancients. Wind inftruments, in particular, which are now in general use, were formerly never introduced, except in theatrical accompaniments. In refpect to modulation, it feems, at the present period, to be quite as much, if not more, attended to than it was formerly. Many new effects in modern mufic are almost

folely

Vol. II.]

Comparison of Ancient and Modern Mufic.

folely produced by due attention to modulation. The fashionable compofers, HAYDN and PLEYEL, by avoiding occafionally the regular and ftudied uniformity of modulation and ftyle, which has been generally adopted by moft of their predeceffors, have certainly attained far more originality and greater variety.

In Chamber Music, the moderns have likewife, by the introduction of quartettos, quintettos, &c. made confiderable improvement. The ancients had chiefly confined themselves, in this fpecies of mufic, to trios for two violins and a bafs. Thefe, though complete in themselves, have yet been greatly improved by the addition of a tenor. This latter inftrument fills up the harmony without double ftops, which have generally a bad effect, from the neceffity of ufing open frings, and the difficulty of ftopping them in time. It moreover gives an opportunity for one of the parts to reft occafionally for a few bars, by which means a much greater contraft can be attained than with fewer inftruments.

MODERN MUSIC certainly alfo has its fhare of demerits. As too much attention is fometimes paid to harmony in the ancient mufic, to the neglect of melody and contraft, fo in the modern too much attention is frequently paid to air and contraft, to the neglect of harmony, and fometimes of modulation. Harmony and melody are effential to all good music, as well as modulation and contraft. If the pieces be not very short, none of these effentials ought to be particularly regarded, to the exclufion of the others, except, however, in cafes where, to vary the ftyle, any of them may be made to predominate occafionally.

Another fault of modern compofition is, that the strains are frequently much too long and tedious. On this account much mufic, in which no other fault can be found, is thrown away upon an audience, and which, if properly managed, might have given pleasure, and excited attention throughout. Though many ancient pieces may also be thought too long, yet their length is generally occafioned by the number of the strains of which they confift. Thefe fucceeding each other in different measures and de

grees of time, prevent the tediousness occafioned by a fingle ftrain or movement protracted to a great length. This fault, in the length of the ftrains in modern mufic, occurs the most frequently in folo concertos, in which the body of the compofition may be confidered as a mere

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vehicle for conveying particular paffages that are intended to exhibit the execution and dexterity of the performer. In thefe folos many paufes are introduced to give him an opportunity of fhowing off in an ad libitum cadence, which (though generally unconnected with the subject of the piece) is frequently the only part attended to by the audience. Thefe cadences are alfo conftantly introduced by a very full noify paffage, feeming to announce to the audience what is to follow, and in-. duce them to resume their attention to the mufic.

Among the demerits of modern mufic may alfo be reckoned the too great extenfion of the compafs of the violoncello, tenor, and violin: The former of these is too frequently made to encroach on the fcale of the tenor, which not poffeffing the capacity of extending its fcale downwards, into that of the violoncello, is made to encroach in its turn on the fcale of the violin; which latter inftrument, having no fuperior, whofe province it may encroach on, is at liberty to range to an unlimited height, or finds no other boundary than the bridge.-Were, however, first-rate performers and professors only to avail themselves of this extenfion of compafs, and were even they to be more fparing in the practice of it, this objection would, perhaps, in fome degree, fall to the ground. In their hands it must be allowed, that novel and furprifing, as well as pleafing effects, may be occafionally produced by the practice; but unfortunately almoft every inferior performer and amateur aims at the fame extent of compafs, and unwifely neglects the natural fcale and useful compass

of the inftrument.

CONTRAST as

Having mentioned one of the principal requifites in a piece of mufic, it may here be obferved, that by blending or chequering the ancient and the modern ftyles in one performance, the effect of each of them will be improved. A piece of ancient mufic, in which the harmony chiefly predominates, will certainly be heard with double pleasure by all lovers of harmony, immediately after a modern piece, in which the harmony is fubordinate to the melody. In like manner, a good modern piece will feem to have a greater degree of brilliancy, and appear to greater advantage, after one in which claffical accuracy is more attended to than general effect. By adhering, therefore, as is fo much the prefent practice, to one particular ftyle, to the total exclufion of the other, the very

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obvious

obvious advantages of CONTRAST are injudiciously abandoned.

I alfo cannot help thinking that modern amateurs are far more tenacious of the old ftyle of writing than the compofers themselves would have been, had the modern ftyle been introduced in their days.

The modern ftyle of compofition was principally brought about by the ufe of wind inftruments, of which the ancients had, not experienced the good effects, and were also probably prejudiced against them. The great Scarlatti declared to Haffe, on the latter defiring to introduce Quant, the flute-player, to him, (as related by Dr. BURNEY, in his German Tour) that he hated wind inftruments, as being never in tune. In this affertion he might probably at that period have been right, from the then imperfection of those inftruments; but, as great improvements have lately been made by means of additional keys, &c. the objection no longer holds good.

Amongst the firft that introduced wind inftruments in overtures, concertos, &c. were Handel and Martini, fo far they were innovators'; ftring inftruments being chiefly used before their time. More modern compofers have, however, much improved the mode of introducing them, which is no difparagement to Handel, &c. because it is quite as meritorious for one perfon fuccefsfully to introduce a new fyftem, as it can be for others to improve upon it. Neither can it, I think, be doubted, that had Handel and Martini lived and enjoyed their faculties a few years longer, but that they would themselves in fome measure have altered their style, and conformed to that of the modern fymphony.

The first compofers of thefe fymphonies obferved, and with reason, that holding notes or paffages in the cantabile ftyle were beft calculated for wind inftruments, to which they accordingly applied them, leaving difficult paffages to be executed by ftring inftruments. In the generality of Handel's overtures the hautboy parts are mere duplicates of thofe of the violin, without regard to the compafs of the inftrument, or the difficulty of executing many paffages on it. The folo paffages in the overtures of Efther and Juftin were evidently at firft compofed as harpfichord paffages

*

The harpsichord and the organ appear indeed, to have been the only inftrument Handel perfectly understood, or, at least, ex

The first inventor of the ftyle of the modern fymphony is faid to be Richter, whofe compofitions being more fcientific than thofe of the generality of his immediate fucceffors (the laft ftrains of many of them being fhort fugues) are therefore more pleafing to connoiffeurs. Mufic, however, is capable of being fo conftructed, as to give pleasure to people in general. Perhaps the proper teft of excellence in this art fhould not be, that it affords pleasure to profeffors and connoiffeurs only, but to the greatest number of amateurs indifcriminately taken. As we are therefore obliged to Richter for the invention of this ftyle, fo we are, perhaps, much obliged to others for the improvement of it. To Stamitz, the elder, we are indebted for the introduc. tion of the crefcendo and diminuendo, the effects of which are fo wonderfully ftriking in modern mufic. The forte, piano, and even fortiffimo and pianiffimo, had been long before in ufe, yet the regular, and almoft imperceptible gradation from the one to the other, had not been difcovered. That this invention of

celled in the practice of: many of his fiddle paffages lie very aukwardly for the hand, and

difficult to be taken without frequent and unnatural shiftings. The French horns alfo, in the fugue of the overture in Sampfon, are made to execute the fame kind of paffages as the violins and tenor, though in the highest and most difficult key for the inftrument.

It is faid of Handel, that when he fat at the harpsichord in a modern fymphony (in the latter part of his life) he ufed to ridicule the reiterated quavers on the fame note in the bass, for feveral bars together, faying, "Now D is trumps, now A is trumps," &c. But however unmeaning this repetition of the fame notes may appear in themfelves, and independent of the variety of harmony that is ufually made thereon by the other parts, it cannot poffibly be more unmeaning than a long holding note for feveral bars, which frequently occurs in the ancient mufic. The fact is, that these reiterated quavers in the bafs, and femiquavers in the

violin parts, were introduced after wind intruments came into ufe, and merely for the Reiterated femiquavers in the fiddle parts fake of variety and additional brilliancy. are, therefore, generally accompanied with plain or holding notes in unifon in the hautboy parts, and repeated quavers in the bafs, by long or holding notes in unifon in the horn or baffoon parts; by which means a new effect is introduced, and the wind and ftring inftruments are kept diftinét from each other, while each plays in the style peculiar to itself.

Stamitz

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