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Scan 867
The New Encyclopedia of Music and Musicians, 1924
27 lines. Read by computer on 17 September 2026. Printed page 823. See the scan on archive.org.
1Vincent [Winzenhörlein], Heinrich Joseph (n. Würzburg, 1819–1901, Vienna). Bavarian operatic tenor and choral conductor at Vienna (from 1847), Halle and Würzburg, from 1872 at Czernowitz and later at Vienna. He was a strong advocate of the 12-tone system of harmony (several essays, 1860–1900). Wrote the operas Die Bettlerin, 1864, and König Murat, 1870, operettas and songs.
3Vincent, Henry Bethuel (Denver, Colo. 1872). American organist, pupil of Sherwood, Paur and Widor, for many years teacher and organist at Erie, Pa., leader of choral societies there and at Conneaut, O., and organist for the Chautauqua Institution (Chautauqua, N. Y.). Has written the opera Esperanza, 1906, the oratorio The Prodigal Son, 1901, 2 operettas, anthems, organ-pieces and about 50 songs (including the cycle The Garden of Kama).
5Vinci, Leonardo (Strongoli, 1690–1730, Naples). Italian (Calabrian) composer, pupil of Greco, at first in the service of Prince Sansovero and from 1725 one of the maestri at the Royal Chapel in Naples. Wrote about 40 operas (from 1719), including especially Ifigenia in Tauride and Astianatte, both 1725, 2 oratorios, cantatas, masses, motets, etc. He was one of the early users of the developed aria da capo. G.
7Vinci, Pietro (1540–?). 16th C.
9Vinée, Anselme. French composer of the orchestral suites Paysage and Bretagne, a prize-sextet for piano and wind, a prize-serenade for piano (or harp), flute and English horn (or oboe), a Lamento for 'cello and orchestra, sonatas for violin (one solo), for 'cello and for clarinet, duets for violins or for violin and 'cello, trumpet-variations, songs, etc. Author of two textbooks in harmony (1901, '10). He was a pupil of Guiraud.
11Vinogradsky, Alexander Nikolaievitch (Kiev, 1854). Able Russian conductor, pupil of the Petrograd Conservatory, in 1884–86 director of the Saratov Music School and since 1889 head of the branch of the Imperial Musical Society at Kiev and conductor of the symphony-concerts, besides often leading concerts elsewhere in Russia and at Paris (1894, '96), Vienna, Berlin and Antwerp. Has written the symphonic poem La Nonne, an Air Finnois for violin and orchestra, 2 string-quartets, a violin-sonata, etc.
13Viola, Alfonso della. 16th C.
15Vicle, Rudolf (n. Mansfeld, 1825–1867, Berlin). Saxon pianist, pupil of Liszt, from about 1850 teaching in Berlin. Wrote 11 piano-sonatas, Die Musikal. Gartenlaube (100 études, edited by Liszt), Caprice Héroïque, Poésies Lyriques, etc.
17Viotta, Henri (Amsterdam, 1848). Able Dutch conductor, teacher and writer, originally a lawyer (in practice till 1883), pupil in music of his father, Smit, Hol and the Cologne Conservatory, from 1883 founder and leader of the Wagner Society at Amsterdam and later of the Excelsior and the Cæcilia, besides in 1889–95 editing the Maandblad voor Musiek and writing for other papers, in 1896–1917 Nicolai's successor as director of the Hague Conservatory, conductor of the Residentie-Orkest and editor of Cæcilia, and then retiring. Author of an important Lexicon der Toonkunst, 3 vols. 1889, Onze Hendedaagsche Toonkunstenaars, 1896 (2d ed. 1901), and Het Auteursrecht van der Componist, 1877. Has also written orchestral and choral works.
19Viotti, Giovanni Battista (n. Crescentino, 1753–1824, London). Distinguished Italian violinist, at first mostly self-taught and at thirteen, as protégé of a nobleman in Turin, pupil of Pugnani. In 1770, with Pugnani at the outset, he began an extensive tour to Geneva, Dresden, Berlin, Warsaw, Petrograd and finally Paris (1782), where he remained for ten years, for a time giving many concerts, then engaged as musician to Marie Antoinette and conductor for Prince de Soubise, and in 1789 (with Léonard) in charge of the Théâtre de Monsieur. Driven out by the Revolution, he moved to London, resuming public playing and soon succeeding W. Cramer as concertmaster at the Opera, but in 1798–1801, under suspicion of political intrigue, was forced to retire to a small town near Hamburg. On returning to London he took up the wine-business, with disastrous financial results. He kept up some artistic activity and often visited Paris, where his genius was especially admired by Baillot. In 1818 he moved to Paris and in 1819–22 was director of the Opera, a post just then of peculiar difficulty and which brought him neither satisfaction nor honor. In spite of his business misfortunes, he fully established himself as the greatest player of his time and also as one of the foremost composers for his instrument. With him begins the treatment of the concerto on the fullest scale. He is often called 'the father of modern violin-playing.' Wrote 29 concertos, 2 concertantes for two violins, 21 string-quartets, 21 trios (violins and viola), over 50 duos, 18 sonatas, 3 divertissements and a piano-sonata. Memoirs by Fayolle, 1810, Baillot, 1825, Miel, 1827, and Pougin, 1888. G.
21Virdung, Sebastian. 16th C. G.
23Visetti, Alberto Antonio (Spalato, 1846). Italian-Dalmatian pianist and vocal teacher, pupil of the Milan Conservatory, for a time engaged in dramatic work at Nice and Paris (where the score of an opera, on a text by Dumas, was destroyed under the Commune) and since 1871 in London as teacher at various institutions, notably the Royal College and the Guildhall School. In 1878–90 he was also conductor of the Philharmonic Society at Bath. In 1880 he received the order of the Crown of Italy. Has written a cantata, songs and piano-pieces. Author of a life of Verdi (1905), a history of singing and translations of works by Hullah and Hueffer. G.
25Vitali, Filippo. 17th C. G.
26Vitali, Giovanni Battista (?1644–1692). 17th C. G.
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