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192 Morley, Hilton, and Michael Este, preferred a lighter vein, and produced some of the most delicious Fa las which remain to us. Among those who affected 'Ayres' and Canzonets, John Dowland incontestibly holds the first place. His 'Awake, sweet Love,' and 'Now, Oh! now, I needs must part,' are gems of Art—perfect in their simplicity, yet no less masterly in design than tender in expression. Orlando Gibbons, and a charming Composer of earlier date—Richard Edwardes—wrote like born Netherlanders. A more interesting comparison than that between the two following examples, and the extracts already given from Archadelt's Bianco e dolce Cigno can scarcely be imagined.

After the second decade of the 17th century, no work of any lasting reputation was produced, and the style soon fell into neglect. Under the Stuart Dynasty, Polyphonic Song lost much of its popularity; and the Great Rebellion crushed out all artistic feeling: but Art lived on; and, in due time, the Madrigal, forgotten in Flanders, and replaced in Italy by a new kind of Chamber Music with instrumental accompaniment, merged gradually, in England, into the Glee—a kind of composition cultivated in no other country, and of far higher æsthetic value than its German representative, the Part Song. The writer who—no doubt unconsciously—helped, more than any other, to prepare the way for this great change, was Thomas Ford, whose lovely Canzonets, 'Since first I saw your face,' and 'There is a Ladie, sweete, and kind,' hold a position as nearly as possible midway between the Madrigal and the Glee, breathing all the spirit of the one, while introducing progressions only permissible in the other. It is, however, worthy of remark—though the fact seems, hitherto, to have escaped notice—that intervals, forbidden by the strict laws of Counterpoint, were tolerated, in England, at an earlier period than on the Continent. Wilbye used the Diminished Triad with a boldness which would have made Anerio's hair stand on end. Such licenses as these once permitted, the substitution of modern tonalities for the Ecclesiastical Modes followed, as a matter of course—and, this accomplished, the change from the Madrigal to the Glee was complete.

Having traced the history of the Madrigal thus far, it remains only to say a few words as to the manner of its performance.

It is absolutely indispensable that it should be sung without any instrumental accompaniment whatever: and, unlike the Glee, (which is always performed by solo Voices,) it is most effective when entrusted to a moderately full, but not too numerous Chorus. Changes of tone, embracing every shade of difference between ff and ppp, and introduced, sometimes by the most delicate possible gradations, and sometimes, in strongly-marked contrast, will be continually demanded, both by the character of the music, and the sense of the words: and, remembering how earnestly Morley insists upon 'varietie,' the student will be prepared to learn that ritardandi and accelerandi will be scarcely less frequently brought into requisition. Nevertheless, strict mechanical precision must be secured, at any cost. The slightest uncertainty, either of intonation, or of rhythm, will suffice to ruin everything; and, to draw the line fairly, between intensity of expression, and technical perfection, is not always an easy matter. There is, indeed, only one way of overcoming the difficulty. To imagine Damon regulating his love-lorn ditty by the tick of a metronome would be absurd. The place of the metronome, therefore, must be supplied by a Conductor, capable of fully sympathising, either with Damon's woes, or Daphne's fond delights, but wholly incapable of shewing the least indulgence to his Singers, who must learn to obey the rise and fall of his bâton, though it move but a hair's breadth in either direction. [ W. S. R. ]

MADRIGAL SOCIETY. Founded in 1741 by John Immyns, a member of the Academy of Ancient Music, the Madrigal Society enjoys the distinction of being the oldest musical association in Europe. Its first meetings were held at the