Thomas Coryat on Choral Performance Practice and a ‘supernaturall voice’ in Venice (1611)
‘Sometimes there sung sixeteene or twenty men together, having their master or moderator to keepe them in order ; and when they sung, the instrumental musitians played also. Sometimes sixeteene played together upon their instruments, ten Sagbuts, foure Cornets, and two Violdegambaes of an extraordinary greatness ; sometimes tenne, sixe Sagbuts and foure Beautiful Cornets ; sometimes two, a Cornet and a treble violl. Of those treble viols I heard three severall there, whereof each was so good, especially one that I observed above the rest, that I never heard the like before.
Those that played upon the treble viols, sung and played together, and sometimes two singular fellowes played together upon Theorboes, to which they sung also, who yeelded admirable sweet musicke, but so still that they could scarce be heard but by those that were very neare them. These two Theorbists concluded that nights musicke, which continued three whole howers at the least. For they beganne about five of the clocke, and ended not before eight. Also it continued as long in the morning : at every time that every severall musicke played, the Organs, whereof there are seven faire paire in that room, standing al in a rowe together, plaied with them.
Of the singers there were three or foure so excellent that I thinke few or none in Christendome do excell them, especially one, who had such a peerelesse and (as I may in a maner say) such a supernaturall voice for such a privilege for the sweetnesse of his voice, as sweetnesse, that I think there was never a better singer in all the world, insomuch that he did not onely give the most pleasant contentment that could be imagined, to all the hearers, but also did as it were astonish and amaze them.
I alwaies thought that he was an Eunuch, which if he had beene, it had taken away some part of my admiration, because they do most commonly sing passing wel ; but he was not, therefore it was much the more admirable. Againe it was the more worthy of admiration, because he was a middle-aged man, as about forty yeares old. For nature doth more commonly bestowe such a singularitie of voice upon boyes and striplings, then upon men of such yeares. Besides it was farre the more excellent, because it was nothing forced, strained, or affected, but came from him with the greatest facilitie that ever I heard. Truely I thinke that had a Nightingale beene in the same roome, and contended with him for the superioritie...’
Thomas Coryat, Coryat’s Crudities: Hastily Gobled up in Five Moneth’s Travels (London, 1611)
The image is a fresco from the ceiling of the Basilica di Santa Maria Salome in Veroli, Italy.