The Short

176 ARTICULATION AND EXPRESSION
Ex. 5.3. (a) Perez, Solimano, Act I, Scene iv, British Library, London, Add MSS 16093–94; pub. in fac. in the series
Italian Opera 1640–1770 (New York, Garland, 1978) (b) D. Corri, A Select Collection, i. 49
cultivated a genuine cantabile style of delivering every type of music. Even in fast music, separation of the notes within
a syllable would have been exceptional, only to be used when specifically indicated by the composer, either by rests, or
by articulation marks (Ex. 5.3.) For the sake of expression, of course, it would sometimes have been considered
appropriate to deliver a particular phrase in a staccato manner; but this, though occasionally marked by careful
composers (Ex. 5.4,) would normally have been left to the judgement of the singer.
Ex. 5.4. Perez, Solimano, Act I, Scene vi, British Library, London, Add MSS 16093–94; pub. in fac. in the series Italian
Opera 1640–1770 (New York, Garland, 1978) [Allegro spiegato e maestoso]
As will become apparent from a closer consideration of string bowing styles, 329 composers’ expectations in respect of
different modes of articulation can only be appreciated in the light of the influences that moulded their styles,
329 See Ch. 7.