GREE EY, 
parts, Cafali advifed him to compofe motets or full Lapham 
in 6 or 8 parts, as the ne plus ultra of compofition. After 
clofe application under Cafali, during two years, this honour- 
able and able mafter told him he might proceed without a 
uide. 
. When he quitted Rome he went to Bologna, where he 
was received.a member of the Philharmonic fociety, for the 
obtaining which honour the good Padre Martini aided and 
aflifted him with his counfel in writing a fugue on a frag- 
ment of canto fermo, taken by chance. 
He was now left to himfelf with his head full of fugues 
and canons of all kinds, which he could turn topfy-turvy, 
and of which he could reverfe all the parts at his pleafure, 
» full preferving a kind of melody in them all, «and I am 
certain (he fays) _ a os cannot be fimple and ex- 
pia ve, and, le rect, without vanquifhing all 
e difficulties of sie Hi sik: 
a rofound contrapuntift Stee ina fcore, by a fingle 
glance, whether the author is a regular bred harmoniit; a 
fingle note is fufficient : as a fingle bare-faced lie throws a 
doubt upon every thing that its author utters, and there are 
certain notes in a well sagalated bale, psvene the ken of a 
fuperficial contrapuntitt. 
He advifes the fudent to continue writing fugues a con- 
fiderable time, in two parts, in order to familiarize himfelf 
with the rules for bringing in the anfwers, and feizing every 
favourable opportunity of imitating {mall portions of the 
principal fubjeét, and its accompaniments. He has inferted 
the fketches of an eafy fugue, giving the fubje¢t alternately 
to the two os in i ~— dar ae from key to key, 
4 u hg asst which is to corre& 
elody ea pees ihe har. ey It would be good 
sae if the young harmoniit were to add a fecond treble, 
a tenor, or a fecond ene A asa ike part, before he attempts 
a third in fu : ing this he fhould try to find 
fuch notes as will not only Teach the harmony, but form an 
agreeable melody in itfelf ; and not be content with every un- 
meaning note which the harmony of the two principal parts 
will allow. He recommends fix months to this. yee pene 
"A youn; creek will begin to play extempore fugues be- 
fo ng will be able to a, them to paper with accuracy 
earneis. 
author tells us that though he loved the mufic of 
Buranel Ilo, Piccini, Sacchini, Ciecio di 
his model. We do not recollect, 
ed of Pergolefi’s ftyle PY. any of M. 
there are g airs in them all, 
aa 
rench pce which the poetry ‘a nati ational 
ther Piccini nor Saschinl could always 
-M. G 
Mufique d’ Eplife,” ~ 
ftudies at Rome, after quitting ' 
na, where he is admitted member of the Phi 
he goes back in his narrative to Rome, and relates in aad te: 
Majo, and Terra- ae 
fimple and beautiful ; it is never fuffered to be coarfe or in- 
elegant ; and a difficult paflage is deemed barbarous that 
5 s not flow naturally from the fubject, and without 
ct. 
“It is generally agreed.(fays M. Gretry) that the inftru- 
mental mutic of Italy is feeble ; but how fhould it be otherwife? 
there is little melody, becaufe they are aiming at harmonical 
effects ; yet little harmony is produced, as they are ignorant 
of modulation. It is eafy to conceive that sees from 
i, and the noife and falfe intonation of many other 
wind i pln not only to the reft of his countr oheg 
but to all the Germanic body anterior to Haydn an 
rt. 
N 
tS) 
His cenfures of the Italian opera, at a time when every 
part of Europe, except France, was enchanted with it, are 
copied from Gluck’s dedication to his * fte.”” 
M. Gretry fays(to humour the French) that a great finger 
ruins an opera, by rendering every chara¢ter which he, or fhe 
Be tars conteniptible and uninterefting. 
e quits Rome in 1767, without ftopping till he came to- 
Gene sug he undertakes twenty female fcholars, in 
oer to provide for his journey to Paris, and firft refidence 
inthat capital. He writes to Voltaire, bere any to ho- 
nour a young artift, juit come fro a lyrical 
drama, te try his force ina lan; guage qe enri Pitan by his un- 
mortal produétions. d fent him Word that he 
could only anfwer his letter de vive gto as he was too ill to 
write, but defired to fee him as foon as poffible 
reat m in ak fame foot 
able light While he was at fst he fet his firft French 
opera of ‘* Ifabelle and Gertrude,’’ which was fo well re- 
ceived, that the audience called for him to receive their ac- 
clamations after the manner of Paris. “ One of the perform- 
ers in the orcheltra , a dancin clon came to me in the 
een ap 
nour in our republic.’” n vain for me to » aifpare the 
point : he would Nia. ach me the bow that I was to 
r grace. As foon as the opera was finifh- 
ed, shes cle: + me fure enough, and with great violence, 
and I w te thank audien nce for their 
all!—but get sate re 
« What” s the matter,” fay his brethren ? aes, «1 am_ out out of 
