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either as impracticable or displeasing. The only opportunity a composer has for introducing new modulation in songs, is in a short second part, in order to fright the hearer back to the first, to which it serves as a foil, by making it compara- tively beautiful. He likewise censures with great severity the noise and tumult of instruments in modern songs.
Signor Rinaldo di Capua has at Rome the reputation of being the inventor of accompanied recitatives; but in hunting for old compositions in the archives of S. Girolamo della Carità, I found an oratorio by Alessandro Scarlatti, which was composed in the latter end of the last century, before Rinaldo di Capua was born, and in which are accompanied recitatives. But he does not himself pre- tend to the invention; all that he claims is the being among the first who intro- duced long ritornellos, or symphonies, into the recitatives of strong passion and distress, which express or imitate what
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