V L LXV> N

JULY, 1979 jffijk ° °'3

THE MUSICAL8

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QUARTERLY
Doctor Burney and Padre Martini
Writing a General History
of Music
HOWARD BROFSKY

Y about 1769 Charles Burney had decided to write a General

B History of Music,1 and after the publication of his An Essay
Towards a History of the Principal Comets that have appeared since
the Year 1742 (London, 1769) he devoted himself almost exclusively
to this task. However, he was nervous about the undertaking, which
he saw as a "chaos to which God knows whether I shall have life,
leisure, or abilities to give order."2 Since he had already "got to-
gether and consulted an incredible number of Books and Tracts on
the subject with more disappointment and disgust than satisfac-
tion," he felt the need to "fly to Italy this summer, and to allay my
thirst of knowledge at the pure source."8 His purpose was twofold:
"to get, from the libraries to the viva voce conversation of the

1 See Roger Lonsdale, Dr. Charles Burney: A Literary Biography (Oxford, 1965),
p. 80.
* From a letter to William Mason, May, 1770 (ice Lonsdale, p. 85).
s Letter to Mason (Lonsdale, p. 84).

313
314 The Musical Quarterly

learned, what information I could relative to the music of the

ancients; and the other was to judge with my own eyes of the present
state of modern music in the places through which I should pass,
from the performance and conversation of the first musicians in
Italy."4
Burney prepared a "plan" of his book, translated it into French
and Italian, and set out for the Continent on June 5, 1770. In addi-
tion to his "plan," 5 he was armed with many letters of introduction

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to "ambassadors and ministers from our Court," as well as "to those
who, then, stood highest in learning, in the sciences, and in lit-
erature." 8 The details of this fascinating trip are well known as set
forth in the published volumes of Burney's The Present State of
Music in France and Italy: or, The Journal of a Tour through those
Countries, undertaken to collect Materials for a General History
of Music (London, 1771).7 One of the most important stops on
Burney's itinerary was Bologna where he visited Padre Giambattista
Martini. The subsequent relationship of these two men is the sub-
ject of this essay.
The first city Burney visited in Italy was Turin, and three days
after he left, the composer Quirino Gasparini wrote to Padre Martini
about the English writer who "is traveling throughout Italy to find
out about famous composers, singers, and musicians of the past and
present, in order to publish a genealogical history."8 Because
Gasparini, maestro di cappella of the Royal Chapel in Turin and

• From a letter to David Garrick, October 17, 1770 (see Percy A. Scholes, The
Great Dr. Burney [London, 1948], II, 291),
5 Lonsdale and Scholes were not aware of the existence of a copy of the Italian
translation of the plan made and fortunately preserved by Padre Martini; this has
recently been brought to light by Vincent Duckies and published in facsimile (Giam-
battista Martini, Piano generate per una storia delta musica di Charles Burney
con un catalogo delta sua biblioteca musicate [Bologna, 1972]).
• Fanny Burney (Mmc d'Arblay), Memoirs of Doctor Burney (London, 1832),
1,221.
7 Scholes published a conflation of the text of the second edition with a pre-
viously unpublished travel journal, as Dr. Burney's Musical Tours in Europe, Vol. I:
An Eighteenth-Century Musical Tour in France and Italy; Vol II: An Eighteenth-
Century Musical Tour in Central Europe and the Netherlands, ed. Percy A. Scholes
(London, 1959). Burney made another copy of his travel journal, with minor variants,
and this has recently been published as Music, Men, and Manners in France and
Italy 1770, ed. H. Edmund Poole (London, 1969).
* Letter, "Torino 17 Luglio 1770," Bologna, Civico Museo Bibliografico Muricale.
 Burney and Martini 315

former student of Martini, was out of town during Burney's visit,

he asked Martini to ensure that he not be excluded from Burney's
book; and he is briefly acknowledged there.9
During several days in Padua (July 30-August 2), Burney ob-
tained a copy of the first volume of Martini's Storia della musica:
"I wanted much to read it, ere I conversed with the author, and in-
deed before my own plan was unalterably settled."10 This volume
of Martini's Storia though it bears the publication date 1757 did not

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actually appear until sometime between September, 1760, and Feb-
ruary, 1761. It seems odd that Burney had been unable to get a copy
during the ten previous years — probably it had no circulation in
England, though it was widely known on the Continent.
Burney arrived in Bologna on August 21.
My chief business in this city was to see and converse with the learned Padre
Martini, and the celebrated Signor Farinelli, the former being regarded by all
Europe as the deepest theorist, and the other as the greatest practical musician of
this, or perhaps any age or country; and, as I was so fortunate as to be well re-
ceived by both, I shall make no apology for being minute in my account of two
such extraordinary persons.11

The following day Burney and Martini met for the first time.
Burney came to this meeting armed with the following:
1. Letters of introduction from Gretry ls and Abate Zanotti.13
2. A copy of AbW Pierre Joseph Roussier's Mimoire sur la
musique des anciens (Paris, 1770), given to Burney by the
author in Paris for presentation to Martini.14

8 Scholes, TOUTS, I, 55.

10 Scholes, Tours, I, 106.
" Scholes, Tours, I, 145.
n Andre Erneit Modeste Gretry, who had studied with Martini about four
years earlier, gave Bumey this letter when they met in Paris on June 22. At that
time, Burney found the composer "in appearance and behavior very agreeable"
(see Scholes, Tours, I, 31).
is The composer Giovanni Calisto Andrea Zanotti, a student of Martini, and
nephew of the noted Bolognese scientist and scholar Francesco Maria Zanotti. Bumey
had a letter to Zanotti from his friend Joseph Baretti in London; the letter is ex-
cerpted in Francesco Vatielli, La Biblioteca del Liceo MusicaU di Bologna (Bologna,
1916), pp. 8-9. Upon presenting the letter to Zanotti, Burney "entreated him to write
a word or two of recommendation to Padre Martini, whom it was absolutely in-
cumbent on me to see ere I left Bologna. He was necessary to my plan in all its
ramifications" (Scholes, Tours, I, 145).
"Scholes, Tours, 1, 31.
316 The Musical Quarterly

3. "Compliments" from Padre Giovanni Battista Beccaria, the

noted physicist, whom Bumey had visited in Turin on
July 14."
The following account of their meeting comes from Burney's
journal; he excluded this portion in the published version:
When, in the evening, I went to Padre Martini at the Franciscan Convent
[San Francesco], of which he is Organist and Maestro di Cappella; I presented

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him a letter from the Abate Zanotti, in which he had inclosed that of Mr. Baretti
to him. I found he had been apprised of my journey and its object from Turin
and Milan, and was pleased to say that he was very glad to know a person of such
merit and of such an uncommon curiosity. I presented him the Abbe1 Roussier*s
Memoir sur la Music des Anciens Grecs, from the author, and a letter from M.
Gre'try, who had received instructions from him.
We presently became very well acquainted, and went to business. I shewed
him my plan in Italian, in perusing it at several places he nodded and smiled ap-
probation — bravo! pulito\ etc I then enquired after the II vol. of his own work
(I had already procured the first, at Padua). He told me it was in great forward-
ness, and would be published in two months.16
The published version of this meeting has often been quoted, but is
worth repeating here in its entirety:
He [Padre Martini] has many years been employed in writing the History of
Music, of which the first volume only has, as yet, been published. Two editions,
one in folio, and one in quarto, were printed at the same time in Bologna, 1757;
a second volume is in the press, and he proposes finishing the work in five volumes.
The first volume is chiefly employed in the History of Music among the Hebrews;
the second and third will comprise that of the ancient Greeks; the fourth, the
Latin or Roman music, with the history of music in the church; the fifth and last
volume will be appropriated to modern music, with some account of the lives and
writings of the most famous musicians, and ingravings of their heads.17 We
reciprocally agreed upon an open and cordial correspondence, and a mutual
promise of confidence and assistance; but it is greatly to be lamented that the
good Father Martini is far advanced in years [he was then 64], and is of infirm
constitution, having a very bad cough, swelled legs, and a sickly countenance; so
that there is reason to fear he will hardly have life and health sufficient to com-
plete his learned, ingenious, and extensive plan.
It is impossible, by reading his book, to form a judgment of the character
of this good and worthy man. As yet he has treated only the driest and most
abstruse part of the subject, in which he had great opportunities to shew his
reading and knowledge, which are deep and extensive, but none to display the

IB Scholes, TOUTS, I, 59-60.

18 Scholes, Tours, I, 145-46.
17 As is well known, only the first three volumes appeared before Martini's death
in 1784.
 Burney and Martini 317

excellence of his character, which is such as inspires not only respect but kindness.
He joins to innocence of life, and simplicity of manners, a native chearfuLness,
softness, and philanthropy.
Upon so short an acquaintance I never liked any man more; and I felt as
little reserve with him after a few hours conversation, as with an old friend or
beloved brother; it was impossible for confidence to be more cordial, especially
between two persons whose pursuits were the same: but though they are the same
with respect to the object, yet they are different with respect to the way; I had
advanced too far to retreat before I could procure his book, and when I had

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found it, my plan was so much digested as to render the adoption or imitation
of any other very inconvenient. Besides, as every object may be approached by a
different route, it may also be seen in a different point of view: two different per-
sons therefore may exhibit it with equal truth, and yet with great diversity: I
shall avail myself of P. Martini's learning and materials, as I would of his
spectacles, I shall apply them to my subject, as it appears to me, widiout changing
my situation; and shall neither implicitly adopt his sentiments in doubtful points,
nor transcribe them where we agree.18
Besides his immense collection of printed books, which has cost him upwards
of a thousand sequins, P. Martini is in possession of original MSS. which no money
can purchase, as well as copies of MSS. in the Vatican and Ambrosian libraries,
and in those of Florence, Pisa, and other places, for which he has had a faculty
granted him by the Pope, and particular permission from others in power. He
has ten different copies of the famous Micrologus of Guido Aretinus, and as many
made from different manuscripts of John de Muris, with several other very andent
and valuable tracts in MS. He has one room full of them; two other rooms are
appropriated to the reception of printed books, of which he has all the several
editions extant; and a fourth to practical music, of which he has likewise a
prodigious quantity in MS.
The number of his books amounts to seventeen thousand volumes, and he
is still encreasing it from all parts of the world. I had frequently surprised book-
sellers on the continent with the list of my own books on the subject of music,
but, in my turn, I was now surprised. Though Padre Martini has had many
presents made him of scarce books and MSS. yet he has often paid a great price
for others, particularly for one written in Spanish, 1613, which cost him a hundred
ducats, about twenty guineas, at Naples, where it was printed. 19 He shewed me
several of his most curious books and MSS. upon which I communicated to him
the catalogue of mine. He was surprised at some of them, and said they were
extremely rare; of these he took down the titles, and, at my second visit, he was
pleased to think my plan worth borrowing to transcribe, which he did with his
own hand. 20

« I n one of his travel journals Burney wrote: " "We are both on the same seal'
says he; 'Yes, but we steer different courses," I said, 'and shall carry our goods to
different markets' " (Poole, p. 88).
19 El Melopeo y maestro by Pedro Cerone.
M Thl» is the copy mentioned in n. 5 (Scholes, Tours, I, 145-46).
318 The Musical Quarterly

This laudatory account of Martini is tempered slightly by scat-

tered comments in Burney's journal, some of which are not included
in the publication. For example, when in Padua, before arriving at
Bologna, Burney met with Padre Francesco Antonio Vallotti,
maestro di cappella of San Antonio:
I find that P. Vallotti is not quite satisfied with it [the first volume of Martini's
Storia]; which he says, though called a history, consists of dissertations and matters

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of doctrines and science more than of narrative or history. But it does not seem
to clash with, or preclude my plan, even in Italy, where alone it seems hidierto
to have been circulated and read. In this Vol. which is a duck 4*°. I find only 8
pages of History.*1 But I must peruse it critically, and, if possible, converse with
the celebrated author, before I form a judgment of so elaborate a work.12

When Burney wrote in' his published account, "As yet he has
treated only the driest and most abstruse part of the subject," he
was being most polite. For herein lies a fundamental difference be-
tween the two men and their respective histories, and Burney's true
feelings about Martini's first volume (which are applicable to all
three volumes) emerge from these various unpublished items. For
example, on September 19 he visited the famous castrato Tommasso
Guarducci at his home near Montefiascone; Burney wrote in his
journal of Guarducci's "expectations that I should make not only
a useful work but one still more general and pleasing than that of
P. Martini, which he and most people think rather dry and too
learned for the generality of readers."28 In addition to these journal
entries, Burney wrote in a letter to Christoph Daniel Ebeling at
Hamburg dated November, 1771: "I will go further, and confess
that the History of the good Padre Martini, so replete with learned
authorities, is what his countrymen frequently call it, a seccatura
[that is, very dry, a bore]."84 Actually, Burney must have felt quite
relieved when he finally did see Martini's work, for he had con-
firmation then that he would in fact write a very different kind of
book.
Burney spent ten days in Bologna, and was with Martini almost
every day. The journal'entry for Thursday, August 23, the day after
their first meeting, reads: "Again this morning with the good Father

« Burney U certainly exaggerating here (see n. 116).

B Scholes, TOUTS. I, 106.
» Poole. p. 127.
** Schole*. The Great Dr. Burney, I, 202.
 Bumey and Martini 319

Martini — 'tis a title I have great reason to give him."28 That very
morning Farinelli, responding to Burney's message to him, came to
San Francesco to greet him:
Upon my observing, in the course of our conversation, that I had long been
ambitious of seeing two persons, become so eminent by different abilities in the
same art, and that my chief business at Bologna was to gratify that ambition,
Signor Farinelli, pointing to P. Martini, said, "What he is doing will last, but the

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little that I have done is already gone and forgotten."26

Farinelli left after inviting both men to dinner on Saturday. Bumey

"staid a good while longer with the good padre — and talked writ
and rummaged very comfortably the whole time."*7
Friday, August 24. Again at night to S. Francisco [sic] — read — transcribed and
borrowed. 28
Saturday, August 25. Spent the morning with P. Martini in his library till we went
together in Signor Farinelli's chariot to dine with him. 29 This was a delightful
and memorable day, spent in an open, cordial, and friendly manner, with two
persons the most eminent and celebrated in Europe, for Musical Science and
Talents! 30
Sunday, August 26. All this morning writing and reading in Padre Martini's
Library.31
Monday, August 27. After dinner I went to make extracts from the books and
head of P. Martini. 32
Tuesday, August 28. Purchasing old books, and reading and transcribing from
MSS. in Padre Martini's Library. . . . I intended setting out for Florence the next
day, 29th, but was told by several people that there would be the most famous
musical performance at Bologna on Thursday the 30th which happens in die
whole year; and this was confirmed by P. Martini, who told me that considering
my errand there, it would be very wrong not to stay; as on that day would be
the annual performance of the members of the Philharmonic Society, which had
subsisted above a hundred years. This determined me to stay as much as if I
had heard the same words uttered by the Oracle of Delphos.33

«» Poole, p. 90.
*» Scholes, Tours, I, 148.
» Poole, p. 91.
*8 Poole, p. 92. This does not agree with the account in The Present State, accord-
ing to which Bumey went to the theater that night
» Poole, p. 92.
*> Scholes, Tours. I, 157.
Si Ibid.
a» Poole, p. 95.
S3 Scholes, Tours, I, 160-61.
320 The Musical Quarterly

After dinner I went to my Daddy good P. Martini who was so kind to lend me his
MSS canons of which I copied what I wanted — he had before lent me for that
purpose old Doni,*4 which is an exceeding scarce book [in dialogue].*5 I made
extracts from that too. 36

Thursday, August 30. I had been desired by P. Martini to attend to the per-
formances at the Church of S. Giovanni in Monte, where he did not choose to
go himself, the members of the Philharmonic Society being chiefly, if not all, his

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disciples; and said he wished to have the opinion of an unprejudiced professor,
an utter stranger to them all. 87

In the church Burney met "the celebrated little German, Mozart

. . . [and] had a long conversation with his father."38 Burney goes on
with a brief account of Mozart's successes in Italy and concludes:
"But there is no musical excellence which I do not expect from his
extraordinary quickness and talents, under the guidance of so able
a musician and intelligent a man as his rather, who, I was informed,
had been ill five or six weeks at Bologna."39
It is amazing that Burney did not seek out the Mozarts in
Bologna during his visit, at least to hear how young Wolfgang, who
six years earlier had "astonished all hearers in London by his pre-
mature musical talent,"40 had progressed since that time. But then
Burney was single-mindedly concentrating on "the present state of
music in Italy," and furthermore his appreciation of Mozart's music
came only very late in his life.
After a detailed discussion of all the pieces played at the concert
(in two parts, morning and evening), Burney concluded:

34 Antonfrancesco Doni, Dialogo delta musica (Venice, 1544). Scholes and Poole
incorrectly interpret this as a reference to Giovanni Battista Doni, but Bumey, in his
History, specifically refers to the Dialogo by A. Doni, which is "among the Libri rari.
I have never seen it, except in the library of Padre Martini, where I transcribed a
considerable part of it" (Burney, A General History of Music, 4 vols. (London,
1776-89; modern ed., 2 vols., ed. Frank Mercer [London, 1935; reprint, New York,
1957], H, 154).
38 Scholes, Tours, I, 166.
» Poole, p. 98.
*7 Scholes, Tours, I, 161. An additional reaion, possibly the principal one, for
Martini'! not attending the annual concert may have been his running feud with
the Accademia filarmonica, culminating in his resignation in 1781.
WScholet, Tours, I, 162.
39 Ibid. But compare Burney's quote two years later from an unnamed cor-
respondent from Salzburg to the effect that Mozart "is one further instance of early
fruit being more extraordinary than excellent" (Scholes, Tours, II, 238).
«Schole», Tours, I, 162.
 Burney and Martini 321

After these performances were done I went to take leave of the very good
Father Martini who waited for me in his study, it being late, beyond the monastic
hour of seeing people. He was quite prepared for me with 3 recommendatory
letters one for Florence, one for Rome, and one for Naples, found still more
curious books to shew me of which I took the titles, in hopes of meeting with them
one time or other. He had told me the day before that as he should not be at the
Philharmonic meeting himself, he should rely on my judgment and account how
matters went off and were conducted — and now, after it was over I told him
my feelings at every single piece: after diis I was going to take leave when he

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says "won't you stay for the words to be written to those canons?" I had the day
before sung with a young franciscan his scholar41 out of a prodigious large book
of his canons, several very pleasing ones for 2 voices only, of which I seemed to
express a desire to have one or two, and this excellent father remembered it and
had set a person to work for me — who was writing when I came into the study
— but as he has usually 2 or 3 amanuenses there I did not mind him. Well
we parted, on my side with sorrow and on his with a recommendation to be
careful of my health and to write to him often.42

What a vivid and rare account of these meetings between the

forty-four-year-old, widely traveled Englishman, and the hermitic,
sixty-four-year-old Italian monk, who had traveled no farther from
Bologna than to Rome, but whose cell was a mecca to all travelers in
Italy interested in music. We can imagine the talk about books and
manuscripts, about their respective histories, and probably about a
subject neglected by Martini in his writings, namely "the present
state of music." At several places in his book, Burney fills in details
about his visit with Martini. He tells us that Martini had permitted
him to transcribe the famous Miserere of Gregorio Allegri, and that
Martini had obtained his copy "by express order of the late Pope."43
Burney also notes that Martini told him that "there were never more
than three copies of it made by authority, one of which was for the
Emperor Leopold, one for the late king of Portugal, and the other
for himself."*4
In Florence, Burney's next stop after Bologna, Martini's letter
gained him a meeting with "Mr. Perkins, an English gentleman,

•i Probably Padre Stanislao Mattei, Martini's disciple and successor as maestro

di cappella at San Francesco, and subsequently teacher to Donizetti and Rossini.
42
Poole, p. 99. In his publication (The Present State), Burney has a footnote
here as follows: "Padre Martini has composed an amazing number of ingenious and
learned canons, in which every kind of intricacy and contrivance, that ever had
admission into this difficult species of composition, has been happily subdued."
"Scholea, TOUTS, I, 181. This was probably Benedict XIV, a fellow Bolognese.
« Scholes, TOUTS, I, 232-3S.
322 The Musical Quarterly

who has resided a considerable time in this city and in Bologna, [and]
is likewise a good musician."*5 He also met Angelo Bandini, librarian
of the Biblioteca Mediceo-Laurenziana, who "shewed me the only
book of MSS upon music in the library."48 This volume contained
treatises by Guido d'Arezzo, Tinctoris, Boethius, Jean de Muris, and
others; Burney, after itemizing the treatises in his diary, adds, "I was
hurried and could write no more — but Padre Martini has had

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the whole book copied and I saw it at Bologna."47
In Rome, through a letter from Martini, Burney met the castrato
Giuseppe Santarelli, "chief conductor of the Papal Chapel. . . . He
has studied Music and its history, particularly in the Church, more
profoundly than any one with whom I had hitherto conversed, not
excepting Padre Martini, who in the historical part of his work
mentions nothing for which he cannot cite the authority of the
Fathers or some Orthodox Ecclesiastical writer on Canto fermo or
counterpoint."48 (This implicit criticism of Martini was not included
in the published volume.)
Burney arrived in Naples on October 16, bearing a letter from
Martini to Niccol6 Jommelli, who, however, was then out of town.
On October 20, Bumey WTote his first letter to Martini (their entire
correspondence is in Italian):
LETTER 1
Most Reverend and Venerated Father,
I have not, until now, expressed my gratitude for all the favors you bestowed
upon me while I was in Bologna lest Society be deprived of the time you spend

<*Scholes, Tours, I, 182. About this William Perkins little is known otheT than
Bumey'i description of him as the author of an essay "on the capacity and extent of
the violoncello, in imitating the violin, flute, french-hom, trumpet, hautbois, and
bassoon." Thii must be the rare work. Facile Difficile, or Mysterys of the Violoncello
exposed in IX. sonatas or duets (London, n.d.). In a footnote in his History Burney
describes Perkins as "an English gentleman, settled at Bologna, and a great admirer
of the compositions of Perti; [he] kindly furnished me with an admirable printed
mass by this master, in eight real parts" (History, II, 536).
«Poole, p. 115. Bandini, who had described the library's holdings in a published
catalogue (1764-78), had an extensive correspondence with Martini (see P. P. Scattolin,
"Ricostrurione del Carteggio di Padre G. B. Martini con G. Tiraboschi, A. M. Bandini,
P. M. Paciaudi, e I. Aff6," Rivista italiana di musicologia, VIII/2 [1973], 225-53).
«Poole, p. 115.
** Scholes, Tours, 1, 210. Santarelli, who had written a history of church music
was, according to Burney, "prevented from publishing his work which has been
printed off ever once 1764 for want of a patron" (Poole, p. 141) — which probably
means that the book was critical of church musical practices and urged reforms.
 Bumey and Martini 323

to its advantage. Your countless courtesies are so imprinted in my heart that I

will never forget them; and will always consider as the most fortunate and gratify-
ing event, not only of my voyage in Italy but of my life, the honor of knowing you.
I met in Florence many knowledgeable men who were embarrassed by my
questions, which only shows how your great work renders futile in Italy any
other attempt at a History of Music.
I gave your letter of introduction to Sig. Perkins, who received me most
politely and did many things for me while I was in Florence. I have established

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in this city a correspondence with Sig. Giuseppe Molini,49 who will attend to the
two editions of the second volume of your stupendous work and will advise any-
one you commission about the price, once the books are ready. The hope of
finding them in Florence around the middle of November is my reason for
passing again through this city on my way back to England.
Among the many learned and enlightened men who were of assistance to
me in Rome, no one was more helpful in my research than Chevalier Santarelli,
whose kindness, understanding, and benevolence cannot be imagined, for which I
am entirely indebted to you as they were the consequence of your letter which
introduced me to this accomplished musician.
I arrived in Naples on the 16th of this month and I first inquired after Sig.
Jomelli, 60 whom I did not find, however, since he had left for the country some
miles away, on vacation. He will not return until the middle of next week but I
could no longer defer assuring you of my respect and gratitude. I will save my
account of Sig. Jomelli's reception for another letter after receipt of the second
volume of your work.
I will remain in Naples until the 5di or 6th of November to hear an opera set
to music by Sig. Jomelli for the Royal Theater, and then, after a week's stay
in Rome I must return at once to England by way of Florence, Pisa, Genoa,
Antibes, Lyons, and Paris.
If I am not fortunate enough to find in Florence the second volume of your
History, I will consider my collection of books to be very incomplete. If it is
possible to find a way to send it to me so I can bring it myself to England, it
would give me great pleasure, and how much more pleasant if it were accom-
panied by a most precious letter from you.
Most impressed by the profound expression of your erudition, piety, and
goodness of heart, I remain. Most Reverend Fadier,
Naples 20 October 1770
Your Most Humble and Obliged Servant,
Charles Burney 61

«• Molini was "brother to Mr. Molini the language master in London [and] like-
wise brother to the eminent bookseller at Paris" (Scholes, Tours, I, 176).
MJommelli, whom Burney regarded as a "truly great composer" (History, II, 927),
always signed bis name with two m'u
si Bologna, Civico Museo Bibliografico Musicale; I am grateful to the library
and iti director, DOCL Sergio Paganelli, for permission to publish these letters.
324 The Musical Quarterly

On October 26, Burney "first had the pleasure of seeing and con-
versing with Signor Jomelli,.who arrived at Naples from the country
but the night before. . . . I gave him Padre Martini's letter, and after
he had read it we went to business directly."52 Jommelli, after per-
using Burney's plan, said that "the part which I had undertaken was
much neglected at present in Italy" (probably a reference to Burney's
intention of treating "the present state of music"). He also "men-

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tioned to me a person of great learning" (Saverio Mattei), who, in
the course of writing a "dissertation on the music of the ancients,
[had] differed in several points from Padre Martini." 63
Naples was the southernmost point of Burney's tour. On his
way back to London he was disappointed not to find the second
volume of Martini's Storia waiting for him in Florence. From there
Burney went to Pisa, where on November 24 he met with Christian
Joseph Lidarti, who "had heard of me at Bologna from Padre
Martini, with whom he had been since I was there. From Lidarti I
learned a reason for P. Martini not keeping his word with me in
sending the second volume of his history to Florence by the time
I returned there, which greatly disappointed me, as it was the chief
reason of my returning through that city — But I find the dedica-
tion to the Grand Duke had not been received, which prevented
other copies being issued out."54
In Paris on his return home Burney finally met Rousseau:
" . . . the reception was far better than I expected — I begun im-
mediately to tell him of my journey and errand into Italy — and the
account seemed to catch his attention — After a little time I told
him that I was very much pleased to find his Dictionary in all hands
there, and that P. Martini in particular en faisoit le plus grand cos —
He said he was very glad of that, as the Italians were the best judges
of its merit."58
• * •
After having been abroad for almost seven months, Burney ar-
rived in London in time to spend Christmas Eve with his family. On
January 16, 1771, he received his first letter from Martini:
62 Scholes, Tours, I, 258-59. On Jommelli's relations with Martini, see my article
"Jommelli e Padre Martini: Aneddoti e realtA di un rapporto," Rivista italiana di
musicologist, V1II/I (1973), 132-46.
63 Schole*, Tours, I, 259. Mattei was a friend and the first biographer of Jommelli.
64 Scholes, Tours, I. 305.
56 Scholes, Tours, I, 313-14.
 Burney and Martini 325

LETTER 2
Monsieur
Through Sig. Perkins I am sending you a copy of the second volume of my
History of Music, which has just been published. I pray you to accept it as a
token of my respect I beg you to keep me always in your most precious good
graces, and with veneration I declare myself
Bologna 16 January 1771

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Your Most Humble, Devoted, and Obliged Servant,
Fr. Ciambattista Martini 66

Thus Burney received the long-awaited second volume of Martini's

Storia; but according to another letter from Martini dated April 7,
1771 (see Plate I), Burney had not yet acknowledged receipt of the
book:
LETTER 3
Monsieur
Having been favored with a most appreciated visit by Sig. Baretti, 67 who is on
his way back to London, I have the opportunity of renewing my respectful devo-
tion. I hope that by now you have received a copy of the second volume of
my History of Music. I pray you to keep me in your good graces, and if you come
upon English books on music, please send them to me; and with all respect I
consider myself
Bologna 7 April 1771
You Most Humble, Devoted, and Obliged Servant,
F. Giambattista Martini 58

It was, however, a very busy time for Burney. In February, 1771,

he had been ill for several weeks,59 and throughout these months
he was absorbed in preparing for publication the fruits of his jour-
ney, The Present State of Music in France and Italy. It appeared on
May 3, 1771, and Burney's daughter Fanny wrote in her diary: "My
father has been honoured with letters from the great Rousseau, M.
Diderot, and Padre Martini, three as eminent men, as the age has
produced, I believe, upon his book."80

M Osbom Collection, Yale Univenity Library; I am grateful to the late Mr. James
M. Osbom for permission to publish these letters here.
ST
Joseph (Giuseppe Marc'Antonio) Baretti, friend of Burney, and also a member
of the Johnson circle.
M Osbom Collection, Yale University Library.
W See Lonsdale, Burney, p. 100.
«o Frances Burney (Mme D'Arblay), Early Diary, 1768-1778, ed. Annie Raine Ellis
(London, 1907), I, 123-24. entry of June 5, 1771.
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n*i*.

Letter from Martini to Burney, April 7, 1771.

The Musical Quarterly

tent
0
,<

&
W*
326
 Burney and Martini 327

There is no extant letter by Martini from 1771 referring to The

Present State; in fact, his next letter to Burney is dated August 19,
1775, and seems to represent Martini's first encounter with Burney's
book.
LETTER 4
Monsieur
The favors you have deigned to bestow on me, by sending through Sig.

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Parsons*1 your most erudite work in three volumes, which contains notices of
Professors of Music gathered during your voyage, oblige me to render you most
distinct thanks; above all for the remembrances of my humble person in many
places. I do not merit such honor, since I recognize in myself no skill; thus I
can only attribute this to the kindness you bear toward me. I hope for op-
portunities to reciprocate, and even more to demonstrate the esteem and homage
with which I have the honor of declaring myself
Bologna 19 August 1775
Your Most Humble, Devoted, and Obliged Servant,
F. Giambattista Martini
P.S. I have recently formed a collection of portraits in painting of Professors of
Music, and therefore I beg you to deign to send me your portrait, which will
enrich my collection.82

The first volume of Burney's History appeared in January, 1776,

and Martini is listed as one of the subscribers. Martini acknowledged
receipt of it in his next letter.

LETTER 5
Monsieur
I have received by means of Sig. Long, the most beautiful work of yours,
the first volume of your History of Music, which I assume to be truly renowned,
only I regret not being able to understand it, since I do not know the language;
therefore to appreciate its merit I am forced to seek help from someone who

61 William Parsons, who, in 1786, succeeded John Stanley as Master of the King's
Band of Music, a position Bumey himself coveted (see Scholes, Burney, II, 23-24).
Bumey had met Parsons on his return through Rome, and, according to his Memoirs,
recommended that he study with Rinaldo di Capua and Santarelli (see Fanny Bumey
D'Arblay, Memoirs of Doctor Burney [London, 1832], III, 79). There is a manuscript
note by Martini in Bologna as follows: "William Parsons, eccellente suonatore di
cembalo e cantantc di tenore, mi favori ncl mese di agosto 1772" (William Parsons, the
excellent performer on the harpsichord, and tenor, so honored me in the month of
August 1772) (see Corrado Ricci, Burney, Casanova e Farinelli in Bologna [Milan,
1890], p. 17).
•2 Osbom Collection, Yale University Library.
328 The Musical Quarterly

does understand the language. I will send you through Sig. Vergani the two
volumes of my work Saggio di Contrappunto. 63
Since you left Bologna I have begun a collection of portraits of Professors of
Music, both ancient and modern; I would be greatly honored to have your
portrait, dierefore I beg you to do me this kindness. I wish also to have portraits
of others, which I ask you to help me obtain. If you have the diance to see Sig.
Bach,M urge him to send me his portrait, as I asked him for it some time ago.
Honor me with your commands, and always at your disposal, I remain

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Bologna 13 January 1778
Your Most Humble, Devoted, and Obliged Servant,
F. Giambattista Martini 65

Burney replied (see Plate II):

LETTER 6
Most reverend Father and honoured patron,
As I hold no more cherished memory than diat of your Reverence, I should
not have left your letter of January 13 unanswered had I not been immersed
in unavoidable business of various kinds. But as 1 am now somewhat less engaged,
and can take advantage of the civility of Signore Roncaglia,68 who proposes
shortly to start for Bologna, I should indeed be failing in proper feeling were I
to neglect the opportunity to assure you of my respect and veneration, and to
thank you, as the present deserves, for the most esteemed gift of your Saggio di
Contrappunto, to whose arrival I look forward with die utmost impatience. The
copy entrusted to Signore Vergani for me has not yet come to hand, but I hope
shortly to receive it, as I urgently require it, since the booksellers can supply it
only after several months' delay. The third volume of your learned and in-
dispensable Storia would vastly aid me in the composition of my own History
were it already in print I trust that die public's impatience, and my own, will
soon be allayed by the appearance of that invaluable work.
Had I been sooner informed of Signore Roncaglia's intention to proceed
direct to Bologna, I should have felt highly honoured in acceding to your flattering
request for my portrait. Before long, however, I hope to find occasion to send
you a likeness of some sort. Meanwhile, I have delivered your message to Signore
Bach, who, as he promised, has liad himself painted.
Be assured, reverend sir, of my prayers, along widi those of every lover of
music, learning, and virtue, that Providence may grant you life, health, and en-
durance to complete your tremendous labours, and diereby make your name
68 Martini's Esemplare ossia Saggio Fondamcntalc pratico di contrappunto, 2 vols.
(Bologna, 1774-75).
8* This was, of course, Johann Christian Bach, then in London, but who had
studied with Martini in Bologna almost two decades earlier.
68
Osborn Collection, Yale University Library.
88 Francesco Roncaglia, well-known castrato who appeared in many of J. C.
Bach's operas in London. Roncaglia wrote to Burney from Bologna on August 29,
1778, telling him he had delivered the letters to Martini, who "asked me to greet
you warmly" (Osbom Collection, Yale University Library).
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329

First page of letter from Burney to Martini, June 22, 1778.

Burney and Martini
330 The Musical Quarterly

and fame known to posterity, as they are today, most reverend and distinguished
Father, to
London 22 June 1778
Your Most Humble, Devoted, and Obliged Servant,
Carlo Burney67

Burney must have interceded with J. C. Bach, for a month later

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Bach wrote to Martini that he was sending to him with Roncaglia
"an excellent portrait of myself by one of our best painters"68 —
hardly an overstatement, since it is the famous portrait by Gains-
borough now in Bologna at the Civico Museo Bibliografico Musicale.
A week later Burney wrote again to Martini:

LETTER 7
Most reverend Father and honored Patron,
Having written to your Reverence a few days ago, by means of Sig. Roncaglia,
to thank you for your kindness in sending me your excellent Saggio di Con-
trappunto, which I have not yet received, I am afraid diat this note is an imposi-
tion. However, having forgotten to make an urgent request, I trust that you will
forgive this second letter.
If the Reverend and most venerated Father would be so kind as to inform me,
by mail, of the difference between Ambrosian Chant and Gregorian Chant, it
would be of great assistance to me in the writing of my History of Music. The
writers on music speak clearly neither on the ancient Ambrosian Chant nor on
that practised today in the Duomo of Milan, where, it is said, the manner in which
the Holy Office is sung, in the Ambrosian style, is preserved in its pristine purity.
However, I do not know if the tones, or the Ambrosian ecclesiastical modes are
eight in number, as in Gregorian Chant; or if the difference consists in the clefs,
the Cantilena, or the finals of the tones. A very brief example, written in notes, of
the difference would be a favor for which I do not dare to hope. However, if
it will not be too bothersome I would dare to pray that, at your leisure, you
resolve diis doubt of mine. With full respect, I declare myself
London 29 June 1778
Your Most Humble and Devoted Servant,
Carlo Burney69

Martini's reply is not extant, but we know something about its

contents from a note of Burney's in his History, on the subject of
w Translated in C. S. Terry, John Christian Bach (London, 1929); 2nd cd., fore-
word by H. C. Robbins Landon (London, 1967), pp. 159-60.
88 Terry, / . C. Bach, p. 160.
•» Bologna, Civico Museo Bibliografico Musicale.
 Burney and Martini 331

Ambrosian Chant: "I then applied to the learned Padre Martini,

who, with his accustomed kindness and spirit of communication,
honoured me with a long letter on the subject; in which, after
acknowledging that the Cantilena Ambrosiana is, in general, the
same as the Canto Romano, except in the Finals, he has favoured
me with copious extracts from a scarce book, entitled Regolo del
canto fermo, Ambrosiano dal Camillo Perego, in Milano, 1622,

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in 4to."70
Burney thanked Martini:

LETTER 8
Most reverend and learned Father,
The invaluable letter, and also the most excellent Saggio di Contrappunto
of your most esteemed Reverence, were delivered to me by Sig. Mattei 71 some
time ago; and I, full of appreciation and gratitude for your kindness, would
have been quicker to thank you if there had not been the lack of an occasion to
send you a letter. Now thanks to a very worthy friend of mine, a fine gentleman,
very knowledgeable about antiquity and the fine arts, I have the honor of writing.
This gentleman, returning from London to Rome where he has lived for 14 years,
and whose name is Giacomo Byers,72 will pass through Bologna soon, and is most
desirous of paying his respects to someone as renowned as you.
Since your reverence is always most curious to know all the extraordinary
circumstances regarding music I have the honor of sending you with this gentle-
man a little essay put out at the request of our royal society, on a musical
phenomenon with whom the English public has been much taken. 73 I am sorry
I do not have time to make a translation of it in the Italian language, but I hope
it will not be difficult to find a friend of yours, knowledgeable in our language,
who will explain it to you.
It is a while since the first volume of my General History of Music came off
the press, and that I have begun to have the second printed; but writing of ob-
scure centuries, interesting materials are difficult to find, and when they are found,
still more difficult to put in order.

TOBumey, History, I, 416 («ee also, Riccardo Allorto, "II Canto Ambrosiano nelle
lettere di G. B. Martini e di Charlei Bumey," Festschrift fUr Erich Schenk, Studien
zur Musikuiissenschaft, Beihefte der Denkmdler der Tonkunst in Osterreich, XXV
[1962], 1-4).
71
Luigi Mattei Marchetti, husband of the singer Signora Marchetti (about
whom see Burney, History, II, 880).
n
James Byers, Scottish antiquarian who lived in Rome for forty yean, and with
whom Burney spent a good deal of time during his visit to Rome. (On Byers, see
Brinsley Ford, "James Byres, Principal Antiquarian for the English Visitors to Rome,"
Apollo, XCIX [June, 1974], 446-61).
ra Account of an Infant Musician [William Crotch] (London, 1779).
332 The Musical Quarterly
But after my travels in France, Italy, Germany, etc, I am determined to look
for musical manuscripts in my own country, and for this I have visited our
Universities of Oxford and Cambridge, and also the British Museum, etc, where
there are copies of rare and unusual manuscripts relevant to my work: for ex-
ample, those of Hucbald, of St Odo, Guido, Franco, Giov. di Muris; besides
these, there are writings of my compatriots, such as John Cotton, Walter Odington,
monk of Evesham in the 13th century — of Thomas of Tewkesbury, Simon
Tunstede, Lionel Power, Johannes Torkesey, Thomas Walsingham, and many

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others of die 14th and 15th centuries of whom I will write in my second volume.
But I hope ardently to be enlightened by the diird volume of your history before
finishing my work.
I have found Signor Mattei, husband of La Marchetti, a man truly worthy of
the praise with which your most venerated Reverence has honored him. Now he
is in Scotland, together widi his much esteemed wife.
Until now die professors of Violin which your Reverence recommended to
me have not arrived in London, therefore the opportunity has been lost to me
to be of some assistance to diese gendemen. Unhappily in time of war die
dieaters and odier places of recreation do badly, and now diere are more Pro-
fessors of Music in England dian can find bread.
As to my portrait, which your Reverence has done me the honor of requesting,
I have been recendy so occupied widi various tasks diat I have not had the time
to have myself painted; but I hope now to gratify your flattering request — mean-
while I have die honor of sending widi Sig. Byers a print of our Doctor Boyce,
recently deceased, but formerly maestro di cappella of die Royal Chapel, a
distinguished gentleman, good contrapuntist, and very knowledgeable in church
music 7 *
I cannot conclude diis letter without telling you how precious to me was your
information on Ambrosian Chant and also your Saggio di Contrappunto, a most
useful and learned book.
Accept, most venerated Fadier, widi your customary kindness, my gratitude,
and please, sometime, give me die honor of your most appreciated remembrance.
I beg you to give me opportunities to reciprocate for so many obligations which
I profess to you, offering you proof of my obedience in die execution of your
commands; at die same time allow me, widi all die respect and homage due you,
to declare myself
London 20 October 1779
Your most Humble, Devoted, and Obliged Servant,
Carlo Bumey, doctor of music 75

Burney's letter overlapped in time with the following letter from

Martini:

T4 William Boyce died on February 7, 1779.

TO Bologna, Civico Museo Bibliografico Musicale.
 Burney and Martini 333

LETTER 9
Most Illustrious, Excellent, and Honored Patron,
On the occasion of the return home of two Englishmen I do not wish to
fail to renew my devotion to your Excellency, and at the same time to ask
you to honor my collection of portraits by sending me your portrait, which will
adorn my collection.
I sent various letters with a certain Sig. Marchetti, 76 who went last year with

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his wife to England to sing; but I have had no verification that the letters were
delivered. Keep me in your most precious good graces, and remember who holds
you in such esteem and veneration, declaring myself, of your most Illustrious and
excellent Reverence,
Bologna 7 November 1779
Your most Humble, Devoted, and Obliged Servant,
F. Giambattista Martini 77

The following year Burney, busily at work on the second volume

of his History, once again wrote to Martini expressing his eagerness
to see the next volume of Martini's work. This is the last letter we
have from Burney to Martini:

LETTER 10
Most learned and venerable father:
More than eight months have passed since I had the honor of writing you so
long a letter, which I sent with Sig. Byres,78 a most worthy Scotsman and friend
of mine who, returning to Rome by way of Bologna, promised to deliver it to
you; he was moved above all by the desire of meeting so renowned a person as
Your Reverence. I would be most distressed and ashamed if said letter, con-
taining my most humble thanks for your most valuable letter on Ambrosian
Chant, and also for your most learned Saggio di Contrappunto, had not been
received.
Now that La Marchetti is returning to Bologna with her husband I make
it my duty to greet Your Reverence, and to tell you that these most worthy beings
correspond in every way to the goodness of which you spoke. Poor Marchetti, how-
ever, did not have good luck in this country, not for lack of talent but for
reasons of health, since she was ill almost all winter. They are truly warm-
hearted people, much cherished by my family as well as myself; it will always be
my great pleasure to show them my friendship.
Word has it that Your Reverence has happily finished your great work, the

T«Seen.71.
TT Osbora Collection, Yale University Library.
nSeen. 72.
334 The Musical Quarterly
Storia della Musical This news gives me great pleasure, and makes me vei-y
impatient to see the new volumes before I publish the second volume of my
History, of which more than half has already come off the press. I have com-
missioned my book dealer to secure your last volume as quickly as possible;
however, the foreign book trade is very slow and difficult in time of war; therefore,
if there is someone coming from Bologna I pray that you do me this favor.
It would give me great pleasure to read the results of your research, Reverend
Father, on music, since I am employed in the very same type of work. But in the

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pursuit of my plan I rely so much on the learning, correctness of citations, and
the various unusual and precious material found in your writings, which I find
indispensable. [Italics mine]
I pray that you give me the opportunity of demonstrating my gratitude for so
many obligations which I owe only to your kindness, and that you consider me
with all due respect, for I am honored to declare myself
London 1 June 1780
Your most Humble, Obliged, and devoted Servant,
Carlo Bumey 80

Bumey makes no mention of the portrait Martini had requested,

and the Franciscan pursued the matter in his next letter:
LETTER 11
Monsieur
This letter will be given to you by Sig. Salvatore Berteze-n of Malta, who is
going with a gentleman to live in London. I hope that on meeting with this
worthy writer on music, and reading his book entitled Principii di Musica Teorico-
Pratica81 you will recognize an unusual man, who has penetrated the fundamentals
of music; and therefore I recommend him to you without hesitation.
I pray you then to favor me, as I have requested in other letters, with your
portrait, since I am very eager that it be in my collection of portraits, to add
significantly to its worth. Please keep me in your very good graces, and full of
respect and esteem I declare myself of your most Illustrious Reverence
Bologna 24 June 1780
Your most Humble, Devoted, and Obliged Servant
F. Giambattista Martini 82

About three months later, Martini wrote again; he still had

not received Burney's portrait:
79 T h e third, and unfortunately final, volume of Martini's Storia did not come
out until the following year.
80 Bologna, Civico Museo Bibliografico Musicale.
81 Published in Rome in that year.
8* Oiborn Collection, Yale University Library.
 Burney and Martini 335

LETTER 12
Most esteemed Doctor Burney, most honored Patron:
By means of Sig. Ferdinando Bertoni 83 I have received three portraits with
which your most esteemed and excellent Reverence has deemed widi most
singular kindness to favor me, and for which I render you most distinct dianks. 84
But since you with such kindness have remembered me, permit me to remind
you how in my preceding letters I have begged you to honor my collection of
portraits widi your own portrait, which would be one of die most valuable in

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my collection, which grows day by day; grant me this pleasure, which I so desire,
being certain diat I will always remember such a special favor.
This letter will be delivered to you by Sig. Giovanni Ansani, famous tenor of
our times,8* whom I recommend to your patronage.
I hope that you will kindly honor my request, and I will never fail, with all
humility, to declare myself of your most Illustrious and Excellent Reverence
Bologna 18 September 1780
Your most Humble, Devoted, and Obliged Servant
F. Giambattista Martini Min. Conventuale 88

In the spring of 1781, Burney had news of Martini from other

sources. The opera singer Pacchierotti87 wrote in English to Bumey's
daughter Fanny as follows: "I am sorry my letter from Bologna is
lost, but it is of no consequence, for I may repeat again the Intel-
ligence concerning P. Martini's history, who on account of his in-
firmities, I fancy shall never be able to compose the last Vol."88
But scarcely two months later Pacchierotti wrote again to Fanny,
announcing the imminent appearance of "il seguito" of Martini's
Storia.89
On May 22, 1781, Luigi Mattei Marchetti (husband of La Mar-
chetti) wrote to Burney that "I delivered the letter to Padre Maestro
Martini, and he told me he had not received your other letter."90

83 Ferdinando Bertoni, who had been a student of Martini, was in London for
several opera seasons during these yean.
8* These portraits were prints, as we learn from a letteT to Bumey from Bertoni,
August 11, 1780, Venice: "I will not fail to send to Padre Maestro Martini next
Saturday the prints . . ." (New York Public Library, Berg Collection).
ss See Burney, History, II, 891.
8* Osborn Collection, Yale University Library.
87Gasparo Pacchierotti, a good friend of the Bumey* during his visits to London,
is extravagantly praised by Burney in his History (II, 887-89).
88 "Venice the 18th of April 1781"; Osbom Collection, Yale University Library.
89 Letter of June 10, 1781; Osborn Collection, Yale University Library.
90 Osborn Collection, Yale University Library.
336 The Musical Quarterly

Thus within a two-month period alone we have reference to two lost

letters. This may explain the lack of extant replies by Burney to
Martini's last five letters.
In October, 1781, Martini wrote again about the portrait:

LETTER 13
Most Esteemed Sir:

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If the departure of the bearer of this letter not be too soon, I will have the
pleasure of sending you the third volume of my History of Music, which will, I
hope, in a few days see the light; otherwise, I will not fail to get it to you by
some other means. I recommend for your protection Sig. Andrea Morigi,91 from
whom you will receive this letter; by general agreement he is valiant in his pro-
fession, and is a friend and compatriot, sufficient reasons obliging me to recom-
mend him to your attention.
I desire a favor of your Reverence, become by now so famous. My collection
of portraits of musicians lacks one in particular, namely your portrait, which
would serve to adorn the collection. Therefore, I beg you to favor me with your
portrait, so that I will have before my eyes the representation of a man who has
become so famous in Music by means of his publications. Grant me then this
pleasure, and I shall always render you homage and declare myself of your most
Esteemed Reverence
Bologna 6 October 1781
Your most Humble, Devoted, and Obliged Servant,
F. Giambattista Martini, Min. Conventuale 82

Finally the famous portrait of Burney by Joshua Reynolds and

Volume II of Burney's History (which appeared in May, 1782) were
dispatched to Martini, who acknowledges their receipt in the fol-
lowing letter:
LETTER 14
Most Illustrious and Excellent Sir, Most Honored Patron:
My indebtedness to you is infinite, for favoring me with the second volume
of your History, and for the portrait, delivered by Sig. Ferdinando Bertoni. In
the second volume I note your explanation of the modem Greek musical nota-
tion of the time of St. John Damascenus, which I sought for so long.93 As to the

W Bolognese opera singer, who performed in London at this time.

K
Osborn Collection, Yale University Library.
83 Martini is referring here to the discussion and accompanying tablfe in Burney,
Hittory, I, 442-45.
 Burney and Martini 337

portrait, I can assure you that all our Painters admire it and consider it an
astonishing and unusual portrait. 94 Therefore thousands and thousands of thanks
to you for such favors rendered me.
It is wonderful to have discovered the modern Greek musical notation, since
that before the time of St. John Damascenus is difficult if not impossible to
decipher, except for some unexpected accident which offers us a favorable
opportunity.
Your Most Illustrious and Excellent Reverence has the convenience of the
famous Library of Oxford, with its many manuscripts, especially Greek; I am

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fortunate to have the index of this collection. I ask you, when you have time, to
study the ancient Greek musical notation.
Again I give you my thanks, and full of esteem and veneration I declare
myself of Your Most Illustrious and Excellent Reverence
Bologna 2 December 178S
[Signature cut out of letter]96

The final letter of their correspondence was written by Martini

less than six months before his death on August 3, 1784:

LETTER 15
Most Illustrious and Excellent Doctor:
A short time ago I acquired a copy of the famous book entitled Catalogi
Librorum MSS. Angliae et Hibemiae in unum collecti printed in Oxford (Shel-
donian Theater) in 1697 in folio. In looking through the many music manuscripts
listed I noted some Greek mss. which seem to explain the notation. I believe you
have looked at these and discussed the notation in the second volume of your
History, which you had the kindness to send me, and which I have greatly
enjoyed.
It is likely that many other codices have been added to the collection since
1697, and I should like to know if a supplementary catalogue has been published,
because I should like to have a copy. But if the entire catalogue together with the
additions has been reprinted, please let me know because in that case it would
be much too costly for me. This is the favor I ask you now, because I am having
a very difficult time transcribing this notation.
I should also like to know the whereabouts of Sig. Salvatore Bertezen who,
after having published in Rome in 1780 a book entitled Principii di Musica
Teorico-Pratica, in 12, stopped off in Bologna some time ago on his way to
London with a gentleman who had taken him in his entourage.

9* The Reynolds painting must have had quite an effect in Bologna, since in
no other letter of Martini's does he acknowledge receipt of a portrait in such en-
thusiastic terms,
*S Osborn Collection, Yale University Library.
338 The Musical Quarterly

I beg you with this letter of mine, aware of the favors I ask of you, and full of
respect and esteem for you, to allow me to declare myself of Your Most Illustrious
and Excellent Reverence
Bologna 16 February 1784
Your Most Humble Devoted and Obliged Servant,
F. Giambattista Martini Min. Conventuale06

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After Martini's death, Burney, the bibliophile, was naturally very
curious about the fate of Martini's library. In October, 1789, he
wrote to his brother-in-law Arthur Young, then in Italy, urging
him to "try to get intelligence of the disposal of Padre Martini's
papers, books, and sequel of his 'History of Musick' at Bologna."97

Young replied:
At Bologna I made enquiries about Padre Martini's papers etc I got introduced
to Padre Mattei, Maestro di Cappella of the Franciscan Convent, who informed
me that he was himself in possession of all those MS, that they amounted he
believed to materials for another volume, which he had thoughts of publishing;
they were however absolutely without arrangement; diey concern the history of
Music from the commencement of the Church to the time of the Troubadours.
In the library of the Institute I looked at the printed volumes for their dates;
that of Vol. 2 is 1770, and Vol. 3 d , 1781, all folio. I mentioned you to Padre
Mattei. He knows you well by reputation, and immediately presented Vallotti's
treatise and a print of Martini which I shall bring you. Here ends my researches
which I wish had been more satisfactory.88

But Burney did not give up so easily; in 1792 he had his friend
Joseph Cooper Walker, Irish author and antiquarian, make further
inquiries while he was in Italy about Martini's library and the fourth
volume of his history. In a letter to an unknown correspondent,
Walker wrote from Venice:
My friend Doctor Burney, Author of the History of Music, is very desirous
of drawing further Information from the m.s. remains of the late Padre Martini.
Will you have the goodness to inform me, whether or not the Doctor might hope
for permission to have the m.s.s. copied; or whether or not the successor of the
Padre, if he does not mean to publish them, could be prevailed upon to sell
them. The present Maestro di Capella [sic], with grave politeness, showed me
the m.s. of the 4 th Vol. of the Padre's History, but he gave me no reason to

*6 Osbom Collection, Yale University Library.

f Scholes, Bumey, II, 242.
»8 "Bologna 5 Dec. 1789"; O»born Collection, Yale University library.
 Burney and Martini 339

expect I should see it in print It is pity so valuable a work should be withheld

from the Public."
Martini's disciple and successor at San Francesco, Padre Stanislao
Mattei, did not have the ability to organize his mentor's material
and complete the history. Later, early in the nineteenth century,
Martini's numerous books and manuscripts formed the basis of the
superb library of the Liceo Musicale, now known as the Civico
Museo Bibliografico Musicale.100 But the unfinished fourth volume

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has remained an object of inquiry into the twentieth century.101
# • •
What is the relationship between Martini's and Burney's histories
of music? Martini nowhere refers to Burney in his Storia, though he
might have done so in the third volume, which appeared in 1781.
Furthermore, Martini could not read English, as he acknowledged in
his letter to Burney of January 13, 1778. Burney, on the other hand,
makes frequent reference to Martini throughout his four volumes,
to Martini's Storia and Saggio di Contrappunto, and to his personal
contact with the Italian through correspondence and his visit to
Bologna.
Martini might have cited Burney had he completed his fourth
and fifth volumes; for example, on English music and theorists, or
on later Greek music and notation (see his letter to Burney of
December 2, 1783). Fundamentally, however, the two men were
different in background, education, character, method of work, and
philosophical outlook.10* Burney was a product of the Enlighten-

99 "Venice, 15th Mar. 1792"; Osborn Collection, Yale University Library.

100 On the history of the founding of this library, see the preface by Federico
Parijini in Gaetano Caspari, corap., Calalogo della Biblioteca del Liceo Musicale di
Bologna, I (Bologna, 1890; reprint, Bologna, 1961); and F. Vatielli, La Biblioteca del
Liceo Musicale di Bologna (see n. IS).
101 Fttit, with Rossini's intervention, examined Martini's materials and concluded
that they were not ready for publication (see Fetis, Biographic universelle des
musciens, 2nd ed. [Paris, 1860-65], art. "Martini"). Anselm Pauchard, Ein italienischer
Musiktheoretiker, Pater Giambattista Martini: Eine literarische Quellenuntersuchung
zur "Storia della Musica" (Lugano, 1941), pp. 138-74, presents a reconstruction of the
volume in outline form.
103 For furtheT references, see Elisabeth Hegar, Die Anfdnge der neueren
Miuikgeschichtsschreibung um 1776 bei Gerbert, Burney und Hawkins (Strasbourg,
1932); Warren Dwight Allen, Philosophies of Music History, 2nd ed. (reprint, New
York, 1962); and L. Lipking, The Ordering of the Arts in Eighteenth-Century England
(Princeton, 1970).
340 The Musical Quarterly

ment and believed in the "progress" of music (with its culmination

in eighteenth-century Italian opera). He also considered music an
"innocent luxury" and respected the work of Rousseau, Voltaire,
and the Encyclopedists. Martini, on the other hand, was a devout
Franciscan monk with an unshakable belief in the supremacy of
church music (in an increasingly secular age). He was always de-
pendent on outside authority ("replete with learned authorities," as
Burney wrote in his letter to Ebeling quoted above).

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Martini in his three volumes did not go beyond ancient Greek
music; in fact the entire second and third volumes are devoted to it.
Burney, in contrast, dealt with ancient Greece in only 290 pages
(out of 1840 in the modern edition), while he wrote about 400
pages on eighteenth-century music alone. Burney, in his chapter on
sixteenth-century Italian music, quotes extensively from Martini's
Saggio di Contrappunto, and the index to Burney's book shows at
least fifty references to Martini. I will cite here only a few of the
more significant entries; for example, from Burney's discussion of
the frequently debated question of "Whether the Ancients had
Counterpoint":
That diligent enquirer, father Martini of Bologna, whose learning and
materials have afforded me great assistance in my musical researches, ranks him-
self among the opponents of ancient counterpoint. The opinion of this re-
spectable judge must have great weight with all those who consider that he has
spent the chief part of a long and laborious life in the study of music, and
musical literature; that all the repositories, all the archives of Italy, where the most
precious reliques of antiquity are treasured up, have been opened to him; that
his knowledge and materials are equally uncommon; and that the native candour
and purity of his mind are such as exempt him from all suspicion of prejudice or
partiality. 103
It is, however, the opinion of the learned Padre Martini, to which the Prince
Abbot of St. Blasius [Martin Gerbert] subscribes, that the music of the first five
or six ages of the church, consisted chiefly in a plain and simple chant of unisons
and octaves, of which many fragments are still remaining in the Canto Fermo
of the Romish missals.104

In reference to Tinctoris, and his Proportionale Musices, Burney

writes:
I shall insert here an extract which I made at Bologna, from an inedited
tract by John Tinctor, and preserved, with other MS. treatises of the same author,

103 Burney, History, I, 126-27.

to* Burney, History, I, 426.
 Burney and Martini 341

in the library of the canons regular of S. Saviour, in that city; to which P. Martini
referred me, upon asking him by what nation he thought music in parts, or
simultaneous harmony, was first cultivated.105

On the subject of canons, Burney wrote:

P. Martini has given "Curious canons, perhaps the most unexceptionable and
the best that have ever been composed, as head and tailpieces to every chapter of
his History of Music, besides publishing vocal duets in canon [Duetti da camera,
Bologna, 1763], and treating largely of the art of composing canons of every kind,

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in his Saggio di Contrappunto.loe

And he called this treatise (and the Arte pratica di contrappunto by

Martini's pupil Giuseppe Paolucci) "works which contain admirable
precepts and examples for ecclesiastical composition of every
kind."107
After the publication of the last two volumes of his history in
1789, Burney completed two more large-scale musical projects. He
first wrote Memoirs of the Life and Writings of the Abate Metastasio
(3 vols., London, 1796), and in the first decade of the nineteenth
century he contributed many articles on music and musicians to the
thirty-nine volumes of Rees's Cyclopaedia. In both of these works
Martini's name frequently appears; I cite here only the most
significant references.
In the Metastasio work, Burney calls Martini "the most learned
Contrapuntist of the present century,"108 and a "venerable and
worthy musical monk."109 In reference to Martini's duets, set to texts
by Metastasio, Burney wrote: "they are in an early mixed chamber
style, in which ancient and modern passages are agreeably inter-
woven."110 Burney prints a number of letters from Metastasio to
Martini, introducing them as follows: "Though the poet's letters
to the learned and worthy Padre Martini contain nothing of im-
portance to general literature, yet to lovers of Music and its history,
nothing that concerns the venerable Maestro di Capella [sic], can
be indifferent."111

105 Burney, History, I, 711.

106 Burney, History, II, 416.
107 Bumey, History, II, 418.
108 Bumey, Memoirs of Metastasio, III, 172.
109 Bumey, Memoirs of Metastasio, II, 299.
"0 ibid.
ill Bumey, Memoirs of Metastasio, III, 102-3.
342 The Musical Quarterly

In Rees's Cyclopaedia, in the article "Composer," Burney wrote:

'Tadre Martini says, that no one can be a good composer without
singing in good taste, and playing well upon the organ. His rules
are for a real maestro di cappella, an ecclesiastical composer; but for
secular music he would have said it was necessary to sing and play
well on the harpsichord or piano forte."112
In a very long article on "Counterpoint," Burney writes about

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Martini's Saggio di Contrappunto:
Padre Martini's instructions are excellent, as far as they go; but the com-
positions which he gives in illustration being all rigidly formed on the ecclesiastical
modes and canto fermo, few of them are applicable to secular music of the present
times. We shall, however, give his authority for some of the rules laid down in
this article and occasionally quote him. 113

Finally, Bumey's article on Martini himself, like many of his

entries, is rather diffuse and rambling114 (Burney was in his late
seventies at the time), and more than half of it is devoted to sum-
maries of Martini's books. I quote only the most significant portions:
MARTINI, Fr. Giambatista, minor conventuale of the order of St. Francis,
member of the Institute and Philharmonic Society at Boiogna. This worthy and
learned father was well known all over Europe by the title of Padre Martini, and
regarded, during the last 50 years of his life, as the most profound harmonist,
and the best acquainted with the history and progress of the art and science of
music in Italy. All the great masters of his time were ambitious of becoming his
disciples, and proud of his approbation. And young professors within his reach
never thought themselves, or were thought by others, sufficiently skilled in counter-
point, till they had received lessons from this deep theorist, and most intelligent
and communicative instructor.

No history of music has been attempted in Italy, since that of Bontempi ap-
peared in 1695, till Padre Martini, in 1757, published in 4to. the first volume
of his "Storia Musica," upon so large a scale, that though the chief part of his
life seems to have been dedicated to it, only three volumes were published before
his decease in 1783 [1784]."*
The first volume of this elaborate work only contains 61 pages of history,116
which advance no further in the progress of the art, than what the sacred writings

11* The Cyclopaedia: or, Universal Dictionary of Arts, Sciences, and Uteralure,
ed. Abraham Rees (London, 1802-19).
m Rees'i Cyclopaedia, Vol. X, artide, "Counterpoint."
l " S e e Scholes, Burney, II, 189-201.
115 This paragraph derives, essentially unchanged, from Bumey'i History, n , 939.
116 Compare Burney'j journal entry above (n. 21), when he first «aw Martini's
History in Padua, to the effect that there were only eight pages of history.
 Burney and Martini 343

have told us concerning its use and cultivation among the Hebrews, Chaldeans,
and Egyptians. The rest of the volume is filled with dissertations. The first is an
enquiry what kind of' melody mankind is inclined to by nature, untaught by
rules or example.
. . . . Much musical erudition is manifested in this dissertation concerning the
music of the ancients.
Dissertation II. On what kind of consonance was used by the ancients, or,

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in other words, whether they had simultaneous harmony, or that kind of harmony,
or music in parts, which the moderns call counterpoint. The subject is well dis-
cussed, the opinions pro and contra fairly given, with specimens of early at-
tempts at harmony, and progressive improvements in counterpoint from the
time of Guido. Infinite pains have been taken in this profound enquiry. No
writer was ever more timid in assertion than the worthy Padre Martini. Not a
sentiment has escaped him on the authority of his own opinion or conjecture, all
is confirmed by the most curious specimens and citations from the most ancient
and respectable writers on the subject. . . . [Italics mine]

"Storia della Musica," tomo secondo da F. Giambatista Martini, in Bologna,

1770, 4to.
Though thirteen years had elapsed between the publication of the first
volume and this, the learned and laborious author has advanced but a little way
in the history even of ancient music The first volume adheres more closely to the
subject of his history than this, which is more miscellaneous. Chronologically, the
author advances no further in this volume, which is wholly confined to Greek
music, than the institution of the Olympic games. So that the period which he
describes is limited to fabulous times. . . .
"Storia della Musica," tomo terzo da F. Giambatista Martini, in Bologna,
1781, 4to.
It is much to be lamented that this was the last volume of his elaborate work,
which the learned author lived to publish! It is the more to be lamented, as this
indefatigable ecclesiastic had, with incredible pains and considerable experience,
collected materials sufficient for the completion of his whole plan. And this third
volume advances no further in the history of ancient music, than the period
between the establishment of the Olympic games of Greece to the time of Alex-
ander the Great The history of Roman music only was to have occupied the
fourth volume. From the materials of which P. Martini was in possession, there is
reason to believe that the history oc. music in Italy, where the present system
throughout Europe had its rise during the middle ages, and from the time of
Guido to the present period, would have been the most valuable present to afl
Europe which the good father could make; but in writing the history of ancient
Greek and Roman music, he had no other means of information than those of
which others were in possession; the classical writers and their commentators. Of
these, indeed, P. Martini has availed himself, it will perhaps be said, to an ex-
cessive degree. . . . This volume will probably be thought tedious by those who
344 The Musical Quarterly

have read, or are able to read, the original authors whence its materials are
derived; to others it is a valuable Thesaurus of all that can be extracted con-
cerning music, from the chief writers of high antiquity and authority, that are
come down to the present times.
It is but justice to extend the account of this important work beyond the
general limits of the short analysis given of other literary musical articles. The
style has been said to be dry and prolix. It is indeed enlivened by no extraneous
matter, or ingenious reflections; but each page is replete with information on the

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subject in question: and the notes abound in curious passages from scarce books.
The road through which the good father leads us, if not strewed with flowers, is
not barren, but frequently affords a glimpse, at least, of incipient cultivation,
which excites a wish and eagerness to advance out of twilight, into regions where
the sun of science shines with more luster, to which, alas! the author did not live
to lead us.

Between the publication of the second and third volumes of his "Storia
Musica," P. Martini published a work, entitled "Essemplare o sia Saggio di
Contrappunto," Bologna, two volumes, folio, 1774 [and 1775].
The excellent treatise, though written in defence of a method of composing
for the church upon canto-fermo, now on the decline, yet has given the learned
author an opportunity of writing its history, explaining its rules, defending the
practice, and of inserting such a number of venerable compositions for the
church by the greatest masters of choral harmony in Italy, from the beginning
of the sixteenth century to the middle of the last, that we know of no book so
full of information concerning learned counterpoint, so rich in ancient and
scarce compositions, nor so abundant in instructive and critical remarks, as this. . . .

In 1769 Padre Martini drew up and gave to his disciples a very short tract,
entitled "Compendio della Theoria de numeri per Uso del Musico di F.
Giambatista Martini, Minor Conventuale." In this tract, the good father defines
the three principal calculations, rations, and proportions necessary for a
musician to know in the division of the monochord and in temperament. . . .

See Progression and Proportion, where the English reader will find the several
progressions and proportions used in harmonics more clearly explained than in
this small tract of Padre Martini, in Italian, or even in a translation of i t . . .

Burney concludes his article with references to two works critical

of Martini, Eximeno's Dubbio di D. Antonio Eximeno sopra il Saggio
di Contrappunto del Giambattista Martini, and Manini's Trattato
in Genere Teorico. He defends Martini against Eximeno's attack,
and cites the anonymous Giudicio di Apollo, the counterattack to
Manini's work.
Though not the kind of comprehensive article one would look
for in an encyclopedia today, nonetheless Burney's appraisal of
Martini's work (though he nowhere makes any reference to Martini's
 Burney and Martini 345

music, other than his canons) is, I believe, a fair and balanced one.
On the negative side, Martini was "timid in assertion," lacking in
"ingenious reflections" or "his own opinion or conjecture," and his
style was "laborious, dry and prolix." On the other hand, he is
"worthy and learned," a "deep theorist, and most intelligent and
communicative instructor," and the writer "best acquainted with
the history and progress of the art and science of music in Italy."
Therein lies Burney's and our frustration. Martini did not complete

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his work, nor did he give us what would have been so much more
useful to future historians, namely the history of music from the
Middle Ages to his own time, the fruits of his most extensive re-
search, a distillation of the massive amounts of materials he collected
right up to his death.
The relationship between Charles Burney and Padre Martini
spanned a fourteen-year period, from the days they spent together
in Bologna in 1770, through their correspondence until Martini's
death in 1784. In focusing in such detail on these two very different
men engaged in similar pursuits, and in publishing their correspond-
ence,117 I have sought to increase our knowledge and understanding
of these important eighteenth-century figures, to illustrate aspects of
music historiography in the age of Enlightenment, and to contribute
a chapter to the ongoing study of the extensive and fascinating
cultural relations between England and Italy.

H7 It is to be hoped that the missing Burney letters will someday come to light.