Books › Baker S Biographical Dictionary Of Musicians, 1900 › scan 1710
Scan 1710
Baker S Biographical Dictionary Of Musicians, 1900
10 lines. Read by computer on 12 September 2026. Printed page 1690. See the scan on archive.org.
1VATIELLI — VAUGHAN WILLIAMS
3(1945); several works for folk instruments: 10 Russian Folksongs, for voice, oboe, balalaika, accordion, and piano (1929); concerto for balalaika and orch. (1931); a suite for balalaika and accordion (1945). Chamber music: 3 string quartets; piano trio; viola sonata; Serenade for cello and piano; Oriental Dance, for clarinet and piano (1923); Japanese Suite, for wind instruments, xylophone, and piano (1938); Chinese Sketches, for woodwind instruments (1938); woodwind quartet on American themes (1938); a number of songs, of which A Maiden Sang in a Church Choir (1908) is the best. Vassilenko publ. a book of memoirs, Pages of Reminiscences (Moscow, 1948) and vol. I of a manual of orchestration (1952). —Cf. Victor Belaiev, S. N. Vassilenko (Moscow, 1927; in Russian and German).
5Vatielli, Francesco, Italian musicologist; b. Pesaro, Dec. 31, 1876; d. Portogruaro, Dec. 12, 1946. He studied philology in Bologna and Florence; music at the Liceo Musicale Rossini in Pesaro; in 1905 he was appointed instructor of music history at the Liceo Musicale in Bologna; also lectured on musicology at the Univ. there. He was co-founder of the Associazione dei Musicologi Italiani; also edited various music journals. He wrote incidental music for several plays, piano pieces, and songs; publ. a number of important papers dealing mainly with music in Bologna: Vita ed arte musicale a Bologna (1922; reprinted in 1927 as Arte e vita musicale a Bologna; 2 vols.); also books on other subjects: La 'Lyra Barberina' di G. B. Doni (1908); Primordi dell'arte del violoncello (1918); Materia e forme della musica (1922; 2nd ed., 1928); Il Principe di Venosa e Leonore d'Este (on Gesualdo; Milan, 1941); edited a collection of 17th-century airs, 'Antiche cantate d'amore' (3 vols.; 1916-20); also 'Antiche cantate spirituali,' 'Antichi maestri bolognesi,' etc. —Cf. A. Della Corte, Francesco Vatielli, in 'Rivista Musicale Italiana' (April-Sept., 1947).
7Vaucorbeil (voh-kohr-bāy'), Auguste-Emmanuel, French composer; b. Rouen, Dec. 15, 1821; d. Paris, Nov. 2, 1884. He studied with Marmontel, Dourlen, and Cherubini at the Paris Cons.; made himself known by songs and 2 string quartets; produced a comic opera, La Bataille d'amour (Paris, April 13, 1863); another opera, Mahomet, remained unperformed. His lyric scene, La Mort de Diane, for solo, chorus, and orch., had some success. In 1872 he became government commissioner for the Paris theaters; from 1879, director of the Opéra.
9Vaughan Williams, Ralph (real last name Williams), foremost English composer; b. Down Ampney, Gloucestershire, Oct. 12, 1872; d. London, Aug. 26, 1958. He was the son of a clergyman, and received his education at Charterhouse School, London (1887-90) and at Trinity College, Cambridge (1892-95); obtained his B.Mus. in 1894, and B.A. in 1895; took the degree of Mus. Doc. at Cambridge in 1901. In 1890-92 and again in 1895-96 he studied at the Royal College of Music, London, where his teachers were Parratt (organ), Parry and Stanford (composition); in 1897-98 he studied with Max Bruch in Berlin. In 1909, when he was already a mature composer, he went to Paris to seek advice from Ravel, and had several sessions with him to advance his technique of composition still further. In 1904 he joined the English Folk Song Society, and became profoundly interested in the native materials of English music. His 3 Norfolk Rhapsodies for orch. (he discarded Nos. 2 and 3), written in 1906, demonstrate this national trend in his work: the opera Hugh the Drover (1911-14) is strongly impregnated with English folk music. His Fantasia on a Theme by Tallis for strings (1910) indicates a widening of his concept of the English idiom by embracing music of the Tudor period, both sacred and secular; modal counterpoint in particular claimed his attention. Outstanding among his works is the London Symphony (1914; revised 1920), revealing the esthetic attitude of the modern period but rooted in the Elizabethan tradition. In his later works, Vaughan Williams adopted an advanced technique of harmonic writing, with massive agglomerations of chordal sonorities; parallel progressions of triads are especially favored, but there is no intention of adhering to any uniform method of composition; rather, there is a great variety of procedures integrated into a distinctively personal and thoroughly English style. A parallel with Sibelius (for whom Vaughan Williams always professed admiration and to whom he dedicated his 5th symphony) may plausibly be drawn; both are proponents of nationalism without isolationism, and stylistic freedom without eclecticism. —During World War I Vaughan Williams served with the British Army in Macedonia and France, becoming an officer in the artillery; after the Armistice he became prof. of composition at the Royal College of Music, London; also conducted the London Bach Choir (1920-28). In 1922 he visited the U. S. to conduct his Pastoral Symphony at the Norfolk, Conn., Festival (June 7); in
The computer misreads some letters and numbers. Where a name matters to you, read the scan.