Books › A biographical dictionary of musicians, 1900 › scan 618
Scan 618
A biographical dictionary of musicians, 1900
20 lines. Read by computer on 3 September 2026. Printed page 605. See the scan on archive.org.
1Balletti, correnti, gighe, allemande, etc. (1668); Sonate a 2 violini con b. cont. per l’organo (1667; 2nd ed. 1685); Balletti, correnti alla francese, gagliarde e brando per ballare (1685); Balletti, correnti e sinfonie da camera a 4 stromenti (1677; 2nd ed. 1685); Balletti, correnti, etc., a violino e violone o spinetta, con il secondo violino a beneplacito (1678); Sonate a 2–5 stromenti (1681); Salmi concertati a 2–5, w. instr.s (1677); Sonate a 2 violini e b. cont. (op. 9); Inni sacri . . . a voce sola con 5 stromenti (1681); Varie sonate alla francese ed all’ italiana a 6 stromenti (1689); Balli in stile francese a 5 stromenti (1690); “Artifici musicali a diversi stromenti” (1689); Sonate da camera a 4 stromenti (1692). Others in MS. at Modena.
3Vitry, Philippe de [Philippus di Vitriaco], b. Vitry, Pas-de-Calais; d. as Bishop of Meaux, 1316. Theorist; writer on mensurable music (treatises printed by Coussemaker in “Scriptorium,” iii). He established the values of the 4 prolations; invented red notes and Proportions (cf. AMBROS), probably introduced the term contrapunctus in lieu of discantus, and adopted (but did not invent) the notes called minima and semiminima.
5Vitto’ri, Loreto, b. Spoleto, about 1588; d. Rome, Apr. 23, 1670, as a member of the Papal Chapel (from 1622).—Publ. “Arie a voce sola” (1639); a “cantata a voce sola,” Irene (1648); a “dramma in musica,” La Galatea (1639); and a “dramma sacro,” La pellegrina costante (1647).
7Vitto’ria, Tomaso Ludovico da [recte Tomas Luis de Victoria], eminent contemporary and friend of Palestrina; b. Avila, Spain, about 1540; d. Madrid (?), about 1608. Pupil, in youth, of Escobedo and Morales, singers in the Papal Chapel at Rome; in 1573, maestro at the Collegium Germanicum; in 1575, at San Apollinare; from 1589–1602, vice-maestro of the Royal Chapel, Madrid.—Publ. works: “Liber primus, qui missas, psalms, Magnificat, ad Virginem Dei Matrem salutationes aliaque complectitur” a 6–8 (1576); Magnificats a 4, w. 4 antiphones to the Virgin a 5–8 (1581); “Hymni totius anni” a 4, w. 4 psalms a 8 (1581; 1600); masses a 4–8 (2 vol.s: 1583; 1592); “Officium hebdomadae sanctae” (1585); “Motetta festorum totius anni cum communi sanctorum” a 5–8 (1585; often republ.; an ed. of 1589 has motets a 12); and his famous requiem for the Empress Maria, “Officium defunctorum sex vocibus” (1605).—In Proske’s “Musica divina” are several numbers by V.
9Vival’di, Abbate Antonio, celebrated violinist; b. Venice, about 1675; d. there 1743. The son, and probably the pupil, of a violinist at San Marco, he early entered the priesthood, and was surnamed “il prete rosso” on account of his red hair. After a period in the service of the Electoral court at Darmstadt, he returned to Venice in 1713, and became director for life of the Cons. della Pietà. Some of his sonatas and concertos for violin are still prized. He publ. 12 trios f. 2 violins and ’cello, op. 1; 18 violin-sonatas w. bass, op. 2 and 5 (one is in Jensen’s “Classische Violinmusik”); “Estro poetico,” 12 concerti f. 4 violins, 2 violas, ’cello, and organ-bass, op. 3; “23 Concerti per violino principale, 2 violini di ripieno, viola e basso per l’organo,” op. 4, 6, and 7; “Le quattro stagioni,” 12 Concerti a 5, op. 8; “La cetra,” 6 do., op. 9; 6 Concerti f. flute, violin, viola, ’cello, and organ-bass, op. 10; and “12 Concerti per violino principale, 2 violini concertanti, viola, violoncello e basso d’organo,” op. 12 and 22.—He also prod. 28 operas, chiefly in Venice.
11Vlees’houwer, Albert de, b. Antwerp, June 8, 1863. Pupil of Jan Blockx. Has prod. 2 operas, l’École des pères (1892), and Zryni (Antwerp, 1895); a symphonic poem, “De wilde Jager”; an orch.l’Idylle; etc.
13Vock’erodt, Gottfried, b. Mühlhausen, Thuringia, Sept. 24, 1665; d. Gotha, Oct. 10, 1727, as rector of the Gymnasium. It was his opinion, that excessive enjoyment of music injures the intellect, and that Nero and Caligula became totally depraved through their passion for music. He advocated these ideas in “Consultatio . . . de cavenda falsa mentium intemperatarum medicina” (1696); “Missbrauch der freien Kunst, insonderheit der Musik” (1697); and “Wiederholtes Zeugniss der Wahrheit gegen die verderbte Musik und Schauspiele, Opern, etc.” (1698). [RIEMANN.]
15Vo’gel, Johann Christoph, b. Nuremberg, 1756; d. Paris, June 26, 1788. Pupil of Riepel at Ratisbon; went to Paris in 1776, and wrote two operas in Gluck’s style: La toison d’or (Paris, 1786; given later as Médée à Colchis), and Démophon (1789).—Publ. 3 symphonies; 2 concertantes f. 2 horns, and 1 f. oboe and bassoon; a bassoon-concerto; 3 clarinet-concertos; 6 string-quartets; 6 quartets f. horn and strings; 3 quartets f. bassoon and strings; 6 trios f. 2 violins and bass; 6 duos f. 2 clar.s; and 6 duos f. 2 bassoons.
17Vo’gel, Friedrich Wilhelm Ferdinand, b. Havelberg, Prussia, Sept. 9, 1807; organ-pupil of Birnbach at Berlin; made tours as an organ-virtuoso, taught in Hamburg 1838–41, and from 1852 at the school for organ-playing and composition at Bergen, Norway.—Publ. a concertino f. org., w. trombones; 60 choral-preludes and 10 postludes; 2 preludes and fugues; symphony, overture, and suite in canon-form, f. orch.; chamber-music, choruses, etc. Also prod. 2 operettas.
19Vo’gel, (Charles-Louis-) Adolphe, b. Lille, May 17, 1808; d. Paris, in Aug., 1892. Violinist; pupil of A. Kreutzer, and of Reicha (comp.) at Paris Cons. After winning popularity by his song “Les trois couleurs,” for the July Revolution (1830), he prod. a series of successful operas: Le Podestat (Op.-Com., 1831); Le siège de Leyde (The Hague, 1847); La moissonneuse
The computer misreads some letters and numbers. Where a name matters to you, read the scan.