to overcome them; I must hear Antonia sing if I was not to pine away in reveries and dim aspirations for want of hearing her.
One evening Krespel was in an uncommonly good humour; he had been taking an old Cremona violin to pieces, and had discovered that the sound-post was fixed half a line more obliquely than usual—an important discovery! one of incalculable advantage in the practical work of making violins! I succeeded in setting him off at full speed on his hobby of the true art of violin-playing. Mention of the way in which the old masters picked up their dexterity in execution from really great singers (which was what Krespel happened just then to be expatiating upon), naturally paved the way for the remark that now the practice was the exact opposite of this, the vocal score erroneously following the affected and abrupt transitions and rapid scaling of the instrumentalists. "What is more nonsensical," I cried, leaping from my chair, running to the piano, and opening it quickly, "what is more nonsensical than such an execrable style as this, which, far from being music, is much more like the noise of peas rolling across the floor?" At the same time I sang several of the modern fermatas, which rush up and down and hum like a well-spun peg-top, striking a few villanous chords by way of accompaniment. Krespel laughed outrageously and screamed, "Ha! ha! methinks I hear our German-Italians or our Italian-Germans struggling with an aria from Pucitta,[1] or Portogallo,[2] or some
- ↑ Vincenzo Pucitta (1778-1861) was an Italian opera composer, whose music "shows great facility, but no invention." He also wrote several songs.
- ↑ Il Portogallo was the Italian sobriquet of a Portuguese musician named Mark Anthony Simâo (1763-1829). He lived alternately in Italy and Portugal, and wrote several operas.
