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So National Music of the World. |
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principle of that reverence for the past which makes the inevitable work of Time's progress progressive, not destructive, so much as one of obsequious and licentious conformity to the impulses of the moment. Surely, there is no need that change in creative efforts should imply disdain or forgetfulncss of what has been. But, partly from the driftings of fashion, partly from political circumstance, partly from an unreasoning impatience of temperament, the art of music in Italy has fallen into a singular state of dilapidation. There is hardly one solitary masterpiece of ancient date—I except not the perfect works of Palestrina, in their style unapproached— which is cherished or known beyond the musty circle of antiquaries. This, it is to be considered, may be no unimportant cause, why in Italy all music has virtually merged in the theatre, as the place where the tempers and emotions of the hour are provided for and mirrored. Instrumental composition may be said to have only a nominal existence in one or two towns. The Church, after having by her mysteries and miracle-plays set opera a-going, found her far too potent Dalilah not to be pressed into her service, and turned to good account, as maintaining a close hold on the weak and the |
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