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Scan 528
Grove's Dictionary of music and musicians, 1927
21 lines. Read by computer on 3 September 2026. Printed page 472. See the scan on archive.org.
1He published two sets of twelve sonatas each (Dresden and Amsterdam, 1721; London and Florence, 1744). For London he composed the operas 'Adriano,' 1735; 'Roselinda,' 1744; 'L' errore di Salomone,' 1744. A number of concertos, sonatas, and symphonies for two violins, viola, violoncello and basso have remained in manuscript, and some of them are in the public libraries of Florence and Bologna. A set of Veracini's sonatas for violin and flute was published in Venice in 1716. He also wrote two cantatas, 'Nice e Tirsi' and 'Parla al ritratto dell' Amante,' a canon for two sopranos, 'Ut relevet miserum,' and an air for soprano and quartet, 'M' assalgono affanno fierezza.' The 'Sonate accademiche a violino solo' (London and Florence, 1744), op. 2, are dedicated to Augustus III., Elector of Saxony, Veracini's patron, and were licensed for publication in England by George II. on Mar. 13, 1744. An engraved portrait of Veracini playing the violin faces the title-page of these sonatas. Some of his sonatas have been edited by Ferd. David (Breitkopf & Härtel) and von Wasielewski (Senff, Simrock), and have been played by Joachim and others.
3BIBL.—M. CAFFI, Storia di San Marco; MATTHESON, Grundlage einer Ehrenpforte; BURNEY, History of Music; FÜRSTENAU, Beiträge zur Geschichte der Kgl. Sächs. Kapelle; Daily Courant, from Mar. 21 to Dec. 24, 1714; WASIELEWSKI, Die Violine; DUBOURG, The Violin; VIDAL, Les Instruments à archet; HART, The Violin; LAHEE, Famous Violinists; FÉTIS, Biog. des mus., Choron and Fayolle, etc.
5P. D.; addns. E. H.-A. and E. v. d. S.
7VERBONNET, JEAN, 15th-16th century Netherlandish composer. Of his compositions are known only: 'Hy sit die wertste,' 4 v. from Susato's 'Muziek Boexken' (1551); a fine four-part setting of 'Dulces exuviae,' etc., from Virgil's Aeneid; a Salve Regina, 4 v., 2 masses and 4 songs in the Codex Basevi (16th century) one of which is superscribed 'Io Ghisling alias Verbonnet'; which has led to his being identified with GHISELIN (q.v.); but Ambros points out that the word 'alias' was sometimes used for 'or' where uncertainty existed about the authorships, and that the style of these two masters was totally different. A three-part Mass signed 'Verbenet' in the Cod. 1594 of the Leipzig University Library may probably have to be attributed to Verbonnet. (Ambros, iii. 251; Riemann.)
9VERDELOT,1 PHILIPPE, a Flemish composer of the early part of the 16th century, appears to have settled in Italy when young, since his first work—a motet—was printed in the 'Fior de' motetti e canzoni' published, as is believed, at Rome in 1526, and since he is found to have resided at Florence, as maestro di musica in San Giovanni, some time between 1530 and 1540. It is certain, however, that he was previously attached to the singing staff of the church of S. Mark at Venice, and we have the authority of Guicciardini 2 for the statement that he was already dead by the year 1567. His earliest composition is in a collection of Juntas in 1526,3 and his latest publication, 'Electiones diversorum motetorum,' is dated 1549.
11Verdelot is commemorated by Cosmo Bartoli and by Vincenzo Galilei, who printed two lute-pieces by him in 'Fronimo.' His works had reached France and were printed in French collections as early as the year 1530. Verdelot's 4 remarkable skill in the science of music is well shown in the fifth part which he added to Jannequin's 'Bataille.'
13Antonio Gardano, the publisher, when introducing in 1541 the reprint of a collection of six-part madrigals by Verdelot, describes them on the title-page as the most divine and most beautiful music ever heard ('la più divina e più bella musica che se udisse giammai'). On the general question of precedence in the composition of the madrigal, see MADRIGAL. Besides the fact insisted on by Eitner 5 that only a very few of Willaert's secular compositions are properly madrigals, the most of them being rather in the lighter style of villanellas, his first composition of the kind appeared only in 1538, while as early as 1536 Willaert himself had arranged in lute tablature for solo voice and lute accompaniment twenty-two madrigals by Verdelot ('Intavolatura degli Madrigali di Verdelotto da cantare et sonare nel lauto … per Messer Adriano,' Venice, 1536). Apart from the early mention of the name in the 14th century, the earliest known volume of musical pieces described as madrigals bears the date 1533, and Verdelot is the chief contributor. It is entitled 'Madrigali novi de diversi excellentissimi Musici.'6 Costanzo Festa also appears as a contributor to this volume, and his name otherwise as a composer appears earlier in print than that of Verdelot. (It should be mentioned that this first book of madrigals is not perfectly preserved, two part-books only existing in the Staatsbibliothek at Munich.) From 1537 onwards various collections of Verdelot's madrigals for four, five and six voices were made by enterprising publishers, such as Scotto and Gardano, but generally mixed up with the works of other composers. Eitner says that no independent collection of Verdelot's madrigals is known to exist (but see Q.-L.). Out of the miscellaneous collections he reckons up about 100 as composed by Verdelot, although with regard to many of them some uncertainty prevails from the carelessness of the publishers in affixing names, and perhaps also their wish to pass off inferior compositions as
151 Two notices cited by Van der Straeten, La Musique aux Pays-Bas, vol. vi. p. 322, suggest that the name of 'Verdelot' is an appellative; if so we are ignorant of the composer's real name. One of the cases referred to is connected with the town of Bruges.
162 Quoted by Van der Straeten, vol. i. p. 44.
173 Ambros, Gesch. vol. iii. p. 287.
184 Ambros, Geschichte der Musik, vol. ii. p. 513.
195 M.f.M., vol. xix. p. 85.
206 See Eitner. Bibliographie der Sammelwerke, p. 27.
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