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In these madrigal dramas, as we shall see, the attempts to overcome the musical unsuitability of polyphonic music to the purposes of dramatic dialogue led composers further and further from the truth which had stood at the elbows of Poliziano's contemporaries and immediate successors.
In addition to the plangency of his chord combinations, as such, his polyphonic skill is responsible for much of the solidity of his fabric. His pages, particularly in the more recent works, are studded with examples of felicitous and dexterous counterpoint poetically significant, and of the most elastic and untrammelled contrivance.
We find ourselves, then, equipped with these significant facts: first, that the composition of secular music in polyphonic forms was at least as old as the thirteenth century; that part singing was practised in Italy as far back as the fourteenth century; that songs for one voice were made with Italian texts at least as early as the time of Dante and Boccaccio; that the art of arranging polyphonic compositions as vocal solos by giving the secondary parts to the accompanying instrument was known in the time of Minuccio and Casella; that at the time of Poliziano's "Orfeo" the frottola was the reigning form of part song, and that then and for years afterward it was customary to arrange frottole as solos by giving the polyphony to the lute or other accompanying instrument.
So, in the history of civilizations, sculpture developed early, after poetry, but with architecture, and before painting and polyphonic music. It reached the greatest perfection of which it is capable in the age of Pericles, and from that time progress was impossible to it, and for a thousand years its movement was one of decline.
Perhaps the unsuitability of polyphonic composition might have made itself clear earlier than it did, had not the general state of Italian thought and taste moved in a direction making this impossible.
Later Bach developed counterpoint very much more in the modern way. He did with polyphony for the piano and organ much the same as Palestrina did for the voice. There have never lived greater masters than these in the art of polyphonic music. There is still another form of writing which is neither strictly harmonic, nor strictly contrapuntal, it is a combination of both.
Second, the solo parts were constructed according to the method developed by the lutenists, who devised a manner of singing one part of a polyphonic composition and utilizing the other parts as the instrumental support. Third, there were two obligato instruments, the pipe used in the duet of the two shepherds, and the "lira" played by Orpheus.
One might venture to remark that composers are the most keen, most conscious judges of their own works, or, rather, of the garments which fit them best. There is in all composition a divine part and also a conscious part. The divine part is the inspiration. The conscious part has to do with dressing the inspiration in its most appropriate harmonic, polyphonic, and rhythmic garments.
Compared with him Bach seems a maker of solid polyphonic prose, Beethoven a scooper of stars, a master of growling storms, Mozart a weaver of gay tapestries, Schumann a divine stammerer. Schubert, alone of all the composers, resembles him in his lyric prodigality.
One of the most remarkable characteristics of Sherlock Holmes was his power of throwing his brain out of action and switching all his thoughts on to lighter things whenever he had convinced himself that he could no longer work to advantage. I remember that during the whole of that memorable day he lost himself in a monograph which he had undertaken upon the Polyphonic Motets of Lassus.
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