Scan 470
The American history and encyclopedia of music, 1908
12 lines. Read by computer on 11 September 2026. Printed page 433. See the scan on archive.org.
A town on its own line is one of the directory's headings. That is where the town on a maker's page comes from.
1Viadana
2expressly for the voice to be accompanied by a thorough-bass. He invented the term basso continuo. His most celebrated work is a collection of Cento Concerti ecclesiastici. He was a prolific composer, and published a number of volumes of canzonets, madrigals, psalms, canticles, and masses. He was the first to accompany solemn church compositions.
4Vianesi (vē-ä-nā'-zē), Auguste Charles Léonard. 1837-
5Born at Leghorn; the son of a musician. He received his early musical training in Italy under Pacini and Döhler, going to Paris when twenty years of age. He brought a letter of introduction to Rossini and completed his musical studies there. Two years later he was called to London by the appointment of conductor at Drury Lane. Later he held similar positions in New York, Moscow and St. Petersburg. Returning to London he conducted Italian Opera for twelve years at Covent Garden. In his wanderings he was conductor in many cities in Great Britain and on the Continent. In 1885 he became a naturalized Frenchman and two years later was appointed to succeed Altès as first conductor of the Grand Opéra in Paris.
7Viard-Louis (vī-är loo-ē), Jenny. 1831.
8Distinguished pianist; born at Carcassonne. She studied at the Paris Conservatory, where she obtained first prize for her playing. Afterwards she was a pupil of Madame Pleyel. She has been married twice; in 1853 to Nicholas Louis, composer, and in 1859 to M. Viard, a Parisian merchant. The season of 1864 and 1865 she toured through Austria and Germany, her ability being especially proven through her rendering of Beethoven's works. Following this tour she gave concerts in Paris. In 1874 she took up teaching in London. In 1883 she began a series of concerts for Beethoven's chamber-music for piano especially and for other instruments. These have been very successful. In 1884 she published a work entitled Music and the Piano.
10Viardot-Garcia (vī-är'-dō gär-thē'-ä), Michelle Pauline. 1821-
11Born in Paris; the daughter of the famous singer and teacher, Maurice Garcia, sister of Madame Malibran and mother of Mme. Heritte-Viardot. At the age of three her father took the family on a trip to America, and her earliest remembrance of her father's voice was hearing him sing at the command of a band of bandits who robbed them in Mexico. While in Mexico, at the age of four, she received lessons on the piano from Marcos Vega, organist of the Mexico Cathedral. At the age of six she could speak fluently in French, Spanish, Italian and English, and later in German. At seven she was in Paris again and studying under Meysenberg and Liszt and harmony under Reicha. Both of her parents had instructed her, and when her father died she began studying voice with one of his favorite pupils, Adolph Nourrit, the tenor. Her first appearance in public was in 1837 at Brussels in a concert given by her brother-in-law, De Bériot it being his first appearance after the death of his wife, Mme. Malibran. Pauline's voice resembled her sister's in quality. The concert was a great success and she spent the next year touring Germany with De Bériot, also singing in Paris. Her first London appearance was in 1839 at Her Majesty's Theatre, where she sang until the following autumn, when she went to Paris. There she sang in Rossini's operas and was enthusiastically received. In 1840 she married M. Viardot. He resigned the Opéra management, and they spent years touring through Italy, Spain, Germany, Russia and England. She returned to Paris in 1849 to take the part of Fidès in Meyerbeer's Prophète, for which part she had been specially chosen, and which she played more than two hundred times. In 1859 she achieved a triumph as Orphée at the Lyric Theatre, and two years later sang possibly her greatest part in Alceste. Her roles include Desdemona, Cenerentola, Rosina, Norma, Arsace, Camilla, Anina, Romes, Lucia, Maria di Rohan, Ninette, Leonora, Azucena, Donna Anna, Zerlina, Rahel, Iphigénie, Alice, Isabelle. Valentine, Fidès, and Orphée. In 1862 Mme. Viardot retired from the Opéra and went to live in Baden-Baden. She took up teaching, and also produced her operettas, Le Dernier Sorcier L'Ogre, and Trop de Femme. In 1871 she returned to Paris. For many years she was a
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