Ancient and Modern Singers , Written in Italian Of the Phil-Harmonic Academy at Bologna . Translated into English Useful for all Performers , Instrumental as well as Vocal . To which are added...

and Examples in Musick . Ornari Res ipsa negat, contenta doceri....

Printed for J. Wilcox , at Virgil's Head, in the Strand . 1743. Note , By the Ancient , our Author means those who liv'd about thirty or forty Years ago; and by the Modern the late and present Singers. N.B. The Original was printed at Bologna, in the Year 1723. Reprinted from the Second Edition by WILLIAM REEVES Bookseller Ltd., 1a Norbury Crescent, London, S.W. 16 1967 Made in England image of bar not available...

Ladies and Gentlemen , P ersons of Eminence, Rank, Quality, and a distinguishing Taste in any particular Art or Science, are always in View of Authors who want a Patron for that Art or Science, which they endeavour to recommend and promote. No wonder therefore, I should have fix'd my Mind on You, to patronize the following Treatise. If there are Charms in Musick in general, all the reasonable World agrees, that the Vocal has the Pre-eminence, both from Nature and Art above the Instrumental: From

P ier. Francesco Tosi , the Author of the following Treatise, was an Italian , and a Singer of great Esteem and Reputation. He spent the most part of his Life in travelling, and by that Means heard the most eminent Singers in Europe , from whence, by the Help of his nice Taste, he made the following Observations. Among his many Excursions, his Curiosity was raised to visit England , where he resided for some time in the Reigns of King James the Second, King William , King George the First, and t

My Lord , I Should be afraid of leaving the World under the Imputation of Ingratitude, should I any longer defer publishing the very many Favours, which Your Lordship so generously has bestow'd on me in Italy , in Germany , in Flanders , in England ; and principally at your delightful Seat at Parson's-Green , where Your Lordship having been pleased to do me the Honour of imparting to me your Thoughts with Freedom, I have often had the Opportunity of admiring your extensive Knowledge, which almos

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T he Opinions of the ancient Historians, on the Origin of Musick, are various. Pliny believes that Amphion was the Inventor of it; the Grecians maintain, that it was Dionysius ; Polybius ascribes it to the Arcadians ; Suidas and Boetius give the Glory entirely to Pythagoras ; asserting, that from the Sound of three Hammers of different Weights at a Smith's Forge, he found out the Diatonick; after which Timotheus , the Milesian , added the Chromatick, and Olympicus , or Olympus , the Enharmonick

Observations for one who teaches a Soprano. [3] T he Faults in Singing insinuate themselves so easily into the Minds of young Beginners, and there are such Difficulties in correcting them, when grown into an Habit that it were to be wish'd, the ablest Singers would undertake the Task of Teaching, they best knowing how to conduct the Scholar from the first Elements to Perfection. But there being none, (if I mistake not) but who abhor the Thoughts of it, we must reserve them for those Delicacies o

Of the Appoggiatura. [17] A ong all the Embellishments in the Art of Singing, there is none so easy for the Master to teach, or less difficult for the Scholar to learn, than the Appoggiatura . This, besides its Beauty, has obtained the sole Privilege of being heard often without tiring, provided it does not go beyond the Limits prescrib'd by Professors of good Taste. § 2. From the Time that the Appoggiatura has been invented to adorn the Art of Singing, the true Reason, [18] why it cannot be use

Of the Shake. W e meet with two most powerful Obstacles informing the Shake . The first embarrasses the Master; for, to this Hour there is no infallible Rule found to teach it: And the second affects the Scholar, because Nature imparts the Shake but to few. The Impatience of the Master joins with the Despair of the Learner, so that they decline farther Trouble about it. But in this the Master is blameable, in not doing his Duty, by leaving the Scholar in Ignorance. One must strive against Diffic

On Divisions. T ho' Divisions have not Power sufficient to touch the Soul, but the most they can do is to raise our Admiration of the Singer for the happy Flexibility of his Voice; it is, however, of very great Moment, that the Master instruct the Scholar in them, that he may be Master of them with an easy Velocity and true Intonation; for when they are well executed in their proper Place, they deserve Applause, and make a Singer more universal; that is to say, capable to sing in any Stile. § 2.

Of Recitative. R ecitative is of three Kinds, and ought to be taught in three different Manners. § 2. The first, being used in Churches, should be sung as becomes the Sanctity of the Place, which does not admit those wanton Graces of a lighter Stile; but requires some Messa di Voce , many Appoggiatura's , and a noble Majesty throughout. But the Art of expressing it, is not to be learned, but from the affecting Manner of those who devoutly dedicate their Voices to the Service of God. § 3. The sec

Observations for a Student. T efore entering on the extensive and difficult Study of the Florid , or figured Song , it is necessary to consult the Scholar's Genius; for if Inclination opposes, it is impossible to force it, and when That incites, the Scholar proceeds with Ease and Pleasure. § 2. Supposing, then, that the Scholar is earnestly desirous of becoming a Master in so agreable a Profession, and being fully instructed in these tiresome Rudiments, besides many others that may have slipt my

Of Airs. I f whoever introduced the Custom of repeating the first Part of the Air (which is called Da Capo ) did it out of a Motive to show the Capacity of the Singer, in varying the Repetition, the Invention cannot be blam'd by Lovers of Musick; though in respect of the Words it is sometimes an Impropriety. [56] § 2. By the Ancients beforementioned, Airs were sung in three different Manners; for the Theatre, the Stile was lively and various; for the Chamber, delicate and finish'd; and for the C

Of Cadences. [78] T he Cadences , that terminate the Airs , are of two Sorts. The Composers call the one Superior , and the other Inferior . To make myself better understood by a Scholar, I mean, if a Cadence were in C natural, the Notes of the first would be La, Sol, Fa; and those of the second Fa, Mi, Fa . In Airs for a single Voice, or in Recitatives , a Singer may chuse which of these Closes or Cadences pleases him best; but if in Concert with other Voices, or accompanied with Instruments, h

Observations for a Singer. [90] B ehold the Singer now appearing in Publick, from the Effects of his Application to the Study of the foregoing Lessons. But to what Purpose does he appear? Whoever, in the great Theatre of the World, does not distinguish himself, makes but a very insignificant Figure. § 2. From the cold Indifference perceived in many Singers, one would believe that the Science of Musick implored their Favour, to be received by them as their most humble Servant. § 3. If too many di

Of Passages or Graces. P assages or Graces being the principal Ornaments in Singing, and the most favourite Delight of the Judicious, it is proper that the Singer be very attentive to learn this Art. § 2. Therefore, let him know, that there are five principal Qualifications, which being united, will bring him to admirable Perfection, viz. Judgment , Invention , Time , Art , and Taste . § 3. There are likewise five subaltern Embellishments viz. the Appoggiatura , the Shake , the putting forth of