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Scan 637
Grove's Dictionary of Music and Musicians, 1928
33 lines. Read by computer on 12 September 2026. Printed page 573. See the scan on archive.org.
1through the Duc d’Alençon and the probable short duration of the reign of the wicked. The motet, written for a large choir, was performed after vespers in the presence of the usurper, who had him seized and hanged without trial. Lacroix du Maine (Bibliothèque Française) mentions de Voz as composer of published motets and chansons, but only one motet, a 5 v., published by Phalèse in ‘Concentum sacrorum,’ etc. (1591), has been discovered so far (Fétis; Mendel).
3VOZIKA, a 17th-18th century chamber musician at the Court of Württemberg, whence he was dismissed ‘on account of his cynical character,’1 and was appointed to the chapel of the Archbishop of Trèves at Coblenz. He is described as the first soloist on the contrabass, for which he composed some soli. He was still living in 1750.
5E. v. d. s.
7VRCHLICKY, JAROSLAV (b. 1853; d. 1912), the initiating spirit in modern Czech poetry whose writings have inspired a great number of musical works, and who, in turn, has been inspired by music. He was a remarkable linguist and a felicitous translator. The following are a few of the more important compositions which owe to Vrchlicky their literary idea—Dvořák: the opera ‘Armida,’ based on the poet’s translation of Tasso’s Jerusalem Delivered; the oratorio ‘St. Ludmila.’ Fibich: the melodramas ‘Hakon,’ ‘Queen Emma,’ the trilogy ‘Hippodameia’; comedy overture, ‘A Night at Karlstein’; incidental music to the poet’s ‘Pietro Aretino.’ J. B. Foerster: the opera ‘Jessica’ (founded on Vrchlicky’s translation of Shakespeare’s The Merchant of Venice); melodramas, ‘The Three Riders,’ ‘The Legend of St. Julia.’ Karel Bendl: opera, ‘Švanda Dudák’ (The Merry Piper). Vít. Novák: opera, ‘A Night in Karlstein; symphonic overture, ‘Lady Godiva.’ Janáček: ‘Amarus,’ solo, orchestra and mixed chorus. Many lyrics and brief choral works.
9R. N.
11VREDEMAN, JACOB, teacher of music at Leuwarden from about 1600–40. He wrote a book of madrigals, canzons and villanelle a 4 v. (1603), and a musical instruction book, ‘Isagoge musicae’ (1618) (Riemann).
13VREEDEMAN, SEBASTIAN, of Malines, was appointed, May 12, 1589, composer at Brussels for the carillons of the corporation. He wrote two books of dance tunes for the cither, published by Phalèse in 1568 and 1569 (Q.-L.).
15VREULS, VICTOR (b. Verviers, Belgium, Feb. 4, 1876), viola-player, composer and conductor, studied music at the École de Musique in his native town; then at the Conservatoire at Liège; then in Paris with Vincent d’Indy. For seven years he was professor of the viola and of harmony at the Schola Cantorum in Paris. From 1906 he was director at the Luxembourg Conservatoire. His production is already considerable, his chief works being:
17An overture; a prelude; 3 symphonic poems; a symphony with violin solo (Eugene Ysaÿe prize, 1904); pieces for various instruments with orchestral accompaniment; an adagio, and 2 pieces for str. orch. For voice: a cantata, a ‘Tryptyque,’ 2 songs with orch.; a number of songs with PF.; a quartet with PF.; a str. quartet; 2 trios; 2 sonatas for vln. and PF.; one for v’cl. For the theatre he has produced a lyric drama in 3 acts, ‘Olivier le Simple’ (La Monnaie, Mar. 9, 1922), ‘Un Songe de nuit d’été,’ a fairy comedy in 3 acts (La Monnaie, Dec. 17, 1925).
19BIBL.—VICTOR VREULS, Revue musicale Belge, i., Dec. 8, 1925. S.I.M., May 1911.
21M. P.
23VROYE, THÉODORE JOSEPH DE (b. Villers-la-Ville, Belgium, Aug. 19, 1804; d. Liège, July 19, 1873), Belgian writer on music, was ordained priest in 1828, and devoted all his spare time to the study of plain-song and the liturgical singing of the church. In 1835 he was appointed canon and precentor of the Cathedral of Liège, and conducted the services with a care and taste which produced remarkable results. He published a ‘Vespéral’ (1829), a ‘Graduel’ (1831), and a ‘Processionale’ (1849) which passed through many editions in Belgium; also, a ‘Traité du Plain-Chant’ (1839), a ‘Manuale Cantorum’ (1849) and a ‘Rituale Romanum’ (1862). His last work, ‘De la musique religieuse’ (1866), written in conjunction with the Chevalier Van Elewyck, was a collection of documents and observations relating to the Congresses of Paris (1860) and Mechlin (1863–64) on service music.
25VUELTA, see SONG, subsection SPAIN (2).
27VUILLAUME, (1) JEAN BAPTISTE (b. Mirecourt, Vosges, Oct. 7, 1798; d. Paris, Feb. 19,2 1875), violin-maker, learnt his craft from his father, Claude Vuillaume (b. 1772; d. Mirecourt, 1834), a descendant of Claude Vuillaume of Mirecourt (1625), who had married a daughter of the old violin-maker, François Médard, of Nancy, and was the founder of the business.
29At the age of 19, Jean Baptiste went to Paris, where he worked with François Chanot, and in 1821 joined Lété, the organ-builder. Lété had been a member of the firm Chanot-Lété—Simon aîné et Payonne, and besides his organ-building dabbled in fiddle-making with Vuillaume, at 20 Rue Pavée St. Sauveur, where his business was known as Lété et Vuillaume. In 1828 Vuillaume ended this association, establishing himself at 46 Rue Croix des Petits Champs, and in the same year he married Adèle Guesnet, of Clermont. The frequent intercourse which Vuillaume had with such men as Pique and Savart, during his partnership with Lété, familiarised him with the methods and styles of the old Italian luthiers to an extent that eventually made him one of the most expert connoisseurs of his time. As soon as he left Lété, Vuillaume attempted to put his knowledge and technical skill to practical use. But there being then a
311 Schubart.
322 The date, Mar. 19, given by Vidal, Pougin and others, is incorrect.
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