[45] The engraving and printing of music was rare, even in the case of popular masters, till late in the eighteenth century. In most cases short and simple clavier pieces were copied privately. This method of spreading works about in our own time when printing has made everything democratic is not lost, but made aristocratic. When Wagner copies the Ninth Symphony, or when a scholar copies an old, unpublished work, we have an instance of the personal love of manual labour in a dilettante or scholar--the work of the hand in an age of machinery.--[Author’s Note.] [46] A far earlier exponent of pure virtuosity is found in England in Dr John Bull, whose pieces, written a century and a half before Dom. Scarlatti’s, bear every mark of devotion to “pianistic,” as Bülow would call it. The author seems to recognise this a few lines back. [47] Plagiarism of the most thorough-going character was common in the eighteenth century, and can hardly have been accounted disgraceful, considering how frequently Handel himself practised it, appropriating subjects of fugues, long passages, and whole movements, from Stradella, Kerl, Urio, Steffani, and others. [48] A “spiritual” opera, or oratorio. [49] A doubtful story. S. died _circa_ 1681, probably in his bed. [50] “Tearing the passion to tatters.” [51] For instance, in the numerous seventeenth century English “cantatas” for solo voice, and the contemporary instrumental fantasias, where it is common to find short sections in triple time breaking the continuity of the more ordinary quadruple time. [52] A notation for the lute was published as early as 1512. [53] “Monochord” is synonymous with “Clavichord” here. The word was often used for the keyed instrument, probably because the “German” clavichord had tangents at the ends of the levers, which cut off the right length of the string, just as the moveable “bridge” of the acoustician’s monochord of one single string does. [54] Our modern notion of a “cantata” includes the free use of a chorus; whereas the seventeenth century “cantata” was for a solo voice with accompaniment of a single instrument, harpsichord, lute, or viol da gamba. [55] For instance, Corelli’s trios, two books (out of four) of which are “suonate da camera,” chamber music, the rest being “da chiesa,” for church. [56] Two Gabrielis, uncle and nephew; the former, Andrea, dating 1510-1586, the latter, Giovanni, 1557-1612. Andrea was a pupil of Willaert and he succeeded Merulo as “second” organist of St Mark’s, Venice, in 1566. [57] “Canzone,” a sixteenth and seventeenth century term for a sort of vocal madrigal.