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Scan 844
Dictionary of music, 1900
22 lines. Read by computer on 3 September 2026. Printed page 836. See the scan on archive.org.
1however, this time, and also in 1814, only a short time in Paris, but settled there definitely in 1819, and undertook the direction of the Grand Opéra at a time when it had fallen into sad decay. V. was unable to improve matters (better times only came with Auber's La Muette de Portici, Rosini's Tell, and Meyerbeer's Robert), and he had to be content with having blame ascribed to him for circumstances for which he was not responsible, and with having the management withdrawn from him in 1822. He died while on a journey which he had undertaken for the purpose of distraction.
3V.'s compositions rank high in the literature of the violin, although he had made no serious study of the art of composition; V.'s sound musical instinct and practice filled up the gaps in his knowledge; and with increase of experience, his works gained in substance and dignity. He wrote 29 violin concertos, the last nine of which are distinguished by means of letters (A–I); also 2 Concertante for two violins, 21 string quartets, 21 trios for two violins and 'cello, 51 violin duets (Ops. 1–7, 13 [serenades], 18–21), 18 violin sonatas with bass (the last six in sets of three, marked respectively A and B); 3 divertissements (Nocturnes) for pianoforte and violin, also a pianoforte sonata. Some of his quartets and trios appeared arranged as violin sonatas. Biographical notices of V. were written by Fayolle, Baillot (his pupil), and Miel.
5Virdung, Sebastian, priest and organist at Basle, the author of an important work in regard to the history of instruments: "Musica getutsch und ausgezogen durch Sebastianum V., Priester von Amberg (not Arnberg, as in Fétis' "Biogr. univ.") [2nd ed.], or even Arenberg, as stated in Mendel's "Lexikon"), um alles Gesang aus den Noten in die Tabulaturen dieser benannten dreye Instrumente der Orgeln, der Lauten und der Flöten transferieren zu lernen kürzlich gemacht" (1511, printed in facsimile by Breitkopf and Härtel (1882). A few Lieder by V. are to be found in Peter Schöffer's "Teutsche Lieder mit 4 Stimmen" (1513).
7Virga (Virgula). (See NEUMES.)
9Virginals. (See PIANOFORTE.)
11Vischer, F. Th. (Cf. Köstlin, I.)
13Visetti, Albert Anthony, b. May 13, 1846, Spalato, Dalmatia, pupil of the Milan Conservatorio (Mazzucato), distinguished teacher of singing, professor at the Royal College of Music and other London musical institutions, conductor of the Philharmonic Society at Bath. He translated into Italian, Hullah's "History of Modern Music," Hueffer's "Musical Studies," etc.
15Vista, more fully, a prima vista (to play, sing, transpose), at sight.
17Vitali, (1) Filippo, composer of the 17th century, native of Florence, maestro of the cathedral there, in 1631 singer at the Papal Chapel at Rome. He published a book of five-part madrigals (1616); "Musiche a 2, 3 e 6 voci" (1617, in monodic style); "Musiche ad 1 e 2 voci con il basso per l'organo" (1618); "Intermedj . . . fatti per la commedia degl' Academici Inconstantii" (1623, produced in the same year at the palace of Cardinal Medici at Florence); "Motetti a 2, 3, 4, 5 voci" (1631); "Arie a due voci" (1635); "Hymne Urbani VIII." (1636); "Arie a 3 voci col basso continuo" (1639); "Salmi a 5 voci" (1641); "Libri V. di arie a 3 voci" (1647). A musical drama, Aretusa (1640, produced at Cardinal Barberini's, Rome), remained in manuscript. V. rendered essential service in the development of the chamber duet.
19(2) Giovanni Battista, b. about 1644, Cremona, about 1667 violist in the orchestra at San Petronio, Bologna, afterwards vice-capellmeister to the Duke of Modena, d. Oct. 12, 1692, Modena. He was one of the most prominent promoters of the instrumental style during the period immediately before Corelli; he published: "Balletti, correnti, gighe, allemande, etc." (1668); "Sonate a 2 violini col uno basso continuo per l'organo" (1667, 2nd ed. 1685); "Balletti, correnti, e sinfonie da camera a 4 stromenti" (1677, 1685); "Balletti, correnti, etc., a violino e violone o spinetto con il secondo violino a beneplacito" (1678); "Sonate a 2, 3, 4 e 5 stromenti" (1681); "Salmi concertate a 2–5 voci con stromenti" (1677); "Sonate a 2 violini e basso continuo" (Op. 9); "Inni sacri per tutto l'anno a voci sola con 5 stromenti" (1681); "Varie sonate alla francese ed all'italiana a 6 stromenti" (1689); "Balli in stilo francese a 5 stromenti" (1690); "Artifici musicali a diversi stromenti" (1689); "Sonate da camera a 4 stromenti" (1692). Other works remain in manuscript at Modena. The Tommaso V. described by Fétis, Wasielewski, etc. is probably identical with him (Trio sonatas, 1693).
21Vitry, Philipp de (Philippus de Vitriaco), important writer on the theory of mensurable music, b. about 1290, d. 1316, as Bishop of Meaux, of whom many treatises have been preserved and reprinted in Coussemaker ("Scriptores III."). Personally, V. did much to advance theory and practice, for he established the quatuor prolationes, which are not, as Ambros imagines ("Gesch." II., 379), the four note values—Long, Breve, Semibreve, Minim, but four different kinds of values of the Breve, viz.: (1) = 3 semibreves a 3 minims, (2) = 3 semibreves a 2 minims, (3) = 2 semibreves a 3 minims, and (4) = 2 semibreves a 2 minims. In the 14th century the invention of the note signs of the minima and semi-minima was ascribed to V., but already in 1350 S. Tunstede opposed this view. According to a statement of Morley, which stands in agreement with that of S. Tunstede, a priest of Navarra was the inventor of the minima (Tunstede says: "inventa erat in Navarina et a Philippo de Vitriaco . . . approbata et usitata"). Other inventions of V. were:
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