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of this reading or intonation is often aided and increased by the sound of instruments, sometimes, expressing the harmonies of the passages or transitions noted for the voice, at other times, perhaps, performing a graceful independent melody or harmony, in which case it is said to be "accompanied:" It may be easily conceived, how powerful an instrument of dramatic effect, this species of composition may become in the hands of a skillful composer. We have already given two examples of its power, one, of recitative in its simplest form, the other, of accompanied recitative.[1] It would seem scarcely credible that so powerful an agent of the lyric drama should be utterly neglected, among a people who undoubtedly _claim_ to be considered a musical nation, and whose composers certainly esteem themselves among those to whom musical fame might be justly awarded. But such is nevertheless the fact, and we are not aware of any modern composer of the English school who has fully availed himself of its powers and capabilities. It has been said of _Artaxerxes_, that the attempt then made to apply recitative to the English language is unsuccessful; but it may be asked, whether the long continued popularity of this work may not, in _some_ degree at least, be owing to the absence of the incongruous mixture of speech and song. However this may be, it is at least a singular coincidence, that the single opera of our language, in which dialogue does not break and interrupt the unity and consistent action of the drama, should be the only musical work which has been distinguished by such constant and enduring marks of popular favour and approbation. Another species of dramatic music, the _cantabile_ of the Italians, is equally neglected among us. The _cantabile_ includes much of the most exquisite music of the Italian masters, and we know of nothing more touchingly beautiful, throughout the whole range of musical composition, than many of the _andante cantabili_ of this school. This, also, has been rarely attempted by the English masters, and their puny efforts will bear no comparison with the rich, graceful, flowing measure of the true Italian. [Footnote 1: No. cccxxvii, p. 137.] All music is, in a greater or less degree, essentially dramatic. Its beauty often depends, entirely, upon the fidelity and truth with which nature is followed. Even instrumental music aims at dramatic effect, and fanciful incidents, and catastrophes are often s
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