, 1» 



ing pleasures that penetrate into the inmost recesses of the 

 soul; but such transcendant pleasures arc experienced only 

 in operas and oratorios composed by the best masters, duly 

 attended to, and properly executed. 



43. Solo's, sonatas and even concertos being destitute of such 

 accompaniment, must, to compensate in some measure for 

 this defect, suggest imaginary scenes productive of emotions 

 or sentiments, and please by well managed contrasts and 

 passages original and striking. Sudden whimsical transitions, 

 destructive of any imaginable scenery, may indeed surprise, 

 as rope-dancers do, but must disgust persons of real taste. 



44. Overtures, as I was informed by that eminent master, 

 Sacchini, must afford some fore-taste of the sentiments con- 

 tained in the pieces they introduce : This I mention because 

 Rousseau was of a contrary opinion :* of such overtures that 

 great man has given excellent specimens in those to Rinaldo, 

 Chimene, and many others. 



45. The sentiments expressed by music are chiefly the fol- 

 lowing :— The religious, the majestic, the pompous, the haughty, 

 the indigna7it, the spirited, the martial, the terrific ; the exhi- 

 larating, the liveli/, the jovial, the comic ; the melancholy, -^ the 

 tender, the plaintive, the supplicating (Burney, 494,) the 

 anxious, the horrific, the ro?nantic,+ the imitative.^ 



» 2 - It 



* Diet. Musique ore)7)/re. 



t Brown, page 44 of his Letters on Music, remarks that the melancholy must not ap_. 

 proach to deep dislress, for llien it becomes mean lamentation. ' ' 



X As in the Bergeries de Cuuperin. 

 i, As sc perde Pustigiwl, 



