Vaccai, Nicola

кVaccai, Nicola

Vaccaro, Jean-Michel

Vacchelli, Giovanni Battista

Vacchi, Fabio

Vacek, Miloš

Vachon [Vasson, Waschon], Pierre

Vačkář, Dalibor C(yril)

Vacqueras, Bertrandus.

Vadé, Jean-Joseph

Vado [Bado] y Gómez, Juan del

Vaduva, Leontina

Vaet, Jacobus

Vagans

Vagantes.

Vaggione, Horacio

Vahner [Wagner], Henrïkh Matusavich

Vaillant [Vayllant], Jehan [Johannes]

Vainiunas, Stasis

Vainonen, Vasily Ivanovich

Väisänen, Armas Otto (Aapo)

Vajda, János

Vakhnyanyn, Anatol' [Natal']

Vala, Do.

Valabrega, Cesare

Valcárcel, Edgar

Valcárcel, Theodoro

Valdambrini, Francesco (i)

Valdambrini, Francesco (ii)

Valdarfer, Christoph

Valdengo, Giuseppe

Valderrábano, Enríquez de

Valdès, Santino detto.

Valdovin [Baldobin, Valdobin], Noe.

Vale, Walter (Sydney)

Valen, Fartein

Valencia.

Valencia, Antonio María

Valens, Ritchie [Richard Valenzuela]

Valente, Antonio

Valente, Saverio

Valenti, Fernando

Valentim de Carvalho.

Valentin, Erich

Valentin, Karl Fritjof [Fritiof]

Valentine, John

Valentine [Follentine], Robert [Valentini, Roberto; Valentino, Roberto]

Valentini [Urbani, Valentino]

Valentini, Giovanni (i)

Valentini, Giovanni (ii)

Valentini, Giuseppe

Valentini [Valentino], Michelangelo [Michele Angelo]

Valentini [Valentino], Pier [Pietro] Francesco [Pierfrancesco]

Valentini, Regina.

Valentini-Terrani, Lucia

Valentino, Henri Justin Armand Joseph

Valenzuela, Pedro [Valenzola, Pietro]

Valera (Chamizo), Roberto

Valeri, Gaetano

Valerius, Adriaen [Adrianus]

Valesi, Fulgenzio

Valesi [Vallesi], Giovanni [Walleshauser, Johann Evangelist]

Valet, Nicolas.

Valla, Domenico [Fattorin da Reggio]

Valla, Giorgio

Valla, Pellegrino [Peregrino]

Vallade, Johann Baptist Anton

Vallara, Francesco Maria

Vallas, Léon

Valle, Barbara.

Valle, Pietro della.

Valle, Raul do

Valledor y la Calle, Jacinto

Vallee [Vallée], Rudy [Hubert Prior]

Vallerand, Jean

Valleria [Lohman; Schoening], Alwina

Vallerius, Harald

Vallet [Valet], Nicolas [Nicolaes]

Vallette, Pierre

Valletti, Cesare

Vallin, Ninon [Vallin-Pardo, Eugénie]

Vallotti, Francesco Antonio

Valls, Francesc [Francisco]

Valls (Gorina), Manuel

Valois.

Valois, Dame Ninette de [Stannus, Edris]

Vals [valse].

Valse

Valse à deux temps

Valse Boston

Valsini, Frencasco.

Valvasensi [Valvasense, Valvasensis, Valvasone], Lazaro [Lazzaro] Girolamo

Valve (i).

Valve (ii).

Valve (iii).

Valverde, Joaquín [padre] (i)

Valverde (y Sanjuán), Joaquín [hijo; ‘Quinito’] (ii)

Vamp.

Vamp-horn [vamping-horn].

Vamśa [basurī, venu].

Vamvakaris, Markos

Van, Guillaume de.

Van Allan, Richard

Van Appledorn, Mary Jeanne

Vanarelli, Francesco Antonio.

Van Beinum, Eduard (Alexander).

Van Benthem, Jaap.

Van Bergijk, Johannes.

Van Biezen, Jan.

Vanbrugh [Vanbrughe], George

Van Bunnen, Hermann.

Vancea, Zeno (Octavian)

Vancouver.

Van Crevel, Marcus.

Vančura [Wanžura, Wanczura, Wanskura], Arnošt [Ernest]

Vancy, Joseph-François Duché de.

Van Dam.

Van Dam, José [Van Damme, Joseph]

Vande Gorne, Annette

Van Delden, Lex.

Van den Berghe, Frans.

Vanden Berghen, Josse

Van den Borren, Charles (Jean Eugène)

Van den Bosch, Pieter Joseph

Vandenbroek [Brock, Vandenbrock, Van der Broeck] Othon-Joseph

Van den Eeden [Eede, Ede, Eethe, Eden, Vandeneet], Gilles [Aegidius]

Vandeneet, Gilles [Aegidius].

Vanden Gheyn [Van den Ghein, Gheine, Gein, etc.].

Van den Heuvel.

Van den Hove, Joachim.

Van den Hove, Peter.

Van den Kerckhoven, Abraham.

Van der Broeck, Othon-Joseph.

Van der Elst, Johannes.

Vanderhagen, Amand (Jean François Joseph)

Vander Linden, Albert(-Charles-Gérard)

Van der Meer, John Henry.

Van der Mueren, Florentijn [Floris] Jan

Van der Putten, Hendrik.

Vander Straeten, Edmond [Vanderstraeten, Edmond]

Van der Straeten, Edmund S(ebastian) J(oseph).

Vandervelde, Janika [Lynn]

Van Der Velden, Renier

Van der Vinck, Herman.

Vander Wielen, Jan Pieterszoon.

Van de Vate [née Hayes], Nancy

Vandewoestijn, David.

Van de Woestijne, David

Vandini, Antonio

Van Dinter, Louis Hubert

Van Doorslaer, Georges

Vandor, Ivan

Vándor [Venezianer], Sándor

Van Durme, Jef [Jozef]

Van Duyse, Flor.

Van Dyck [van Dijck], Ernest (Marie Hubert)

Van Elewyck [Elewijck], Xavier (Victor Fidèle)

Vaness, Carol

Van Eyck, Jacob.

Van Ghelen.

Van Gheluwe, Leo

Vanguard.

Van Hagen, Peter Albrecht.

Vanhal [Vanhall, Wanhal, Wanhal, Wanhall], Johann Baptist [Jan Ignatius] [Vaňhal, Jan Křtitel]

Van Halen.

Van Helmont, Adrien Joseph

Van Helmont, Charles Joseph [Carol Josephus]

Van Heusen, Jimmy [James; Babcock, Edward Chester]

Van Hoboken, Anthony.

Van Hove, Luc

Vanhulst, Henri

Van Ijzer-Vincent, Jo.

Van Immerseel, Jos

Vanini, Bernardino.

Vanini [Boschi], Francesca

Van Kerckhove, Abraham.

Van Lier, Bertus.

Van Maldeghem, Robert Julien

Vannarelli [Vanarelli], Francesco Antonio

Van Nes, Jard.

Vannes, René

Vanneschi, Francesco

Vanneus, Stephanus [Vanni, Stefano]

Vanni, Stefano.

Vanni-Marcoux [Marcoux, Vanni; Marcoux, Jean Emile Diogène]

Vannini [Vanini], Bernardino

Vannini, Elia

Vannius, Johannes.

Van Noordt.

Vannucci, Domenico Francesco

Van Oeckelen, Petrus

Van Parys, Georges

Van Put, Hendrik.

Vanrans [Vanrrans].

Van Rooy, Anton.

Van Rossum, Frederik.

Van San, Herman

Van Soldt Keyboard Manuscript

Van Stappen, Crispin.

Vanuatu

Vaňura [Waniura, Wanjura, Wanžura], Česlav [Ceslaus]

Van Vactor, David

Van Vere.

Van Vleck, Jacob

Van Vulpen.

Van Wilder [de Vuildre, Vanwilder, Van Wyllender, Welder, Wild, Wildroe, Wylde], Philip

Van Wyk, Arnold(us Christian Vlok)

Van Wyk, Carl (Albert)

Van Ypen.

Van Zandt, Marie

Vanzo, Alain (Fernand Albert)

Vanzo, Vittorio Maria

Vaquedano [Baquedano], José de

Vaqueras [Vacqueras, Vagares, Vacares, Vassadelli, della Bassa, de Bassea], Bertrandus

Varady, Julia

Varcoe, (Christopher) Stephen

Vardi, Emanuel

Värdi [Vardina], Pietro.

Varela de Vega, Juan Bautista

Varesco, (Girolamo) Giovanni Battista [Gianbattista]

Varèse, Edgard [Edgar] (Victor Achille Charles)

Varesi, Elena Boccabadati-.

Varesi, Felice

Varga, Tibor

Vargas(-Wallis), Darwin (Horacio)

Vargas, Ramón

Vargas [Bargas], Urbán de

Vargas y Guzmán, Juan Antonio de

Vargyas, Lajos

Variable tension chordophone.

Variafon.

Variations.

Varischino [Varischini], Giovanni

Varlamov, Aleksandr Yegorovich

Varna.

Várnai, Péter P(ál)

Varnay, Astrid (Ibolyka Maria)

Varney, Louis

Varnish.

Varoter, Francesco.

Varotto, Michele

Varro, Marcus Terentius

Varró [née Picker], Margit

Varsovienne

Vartan, Hayg

Värttinä

Varunts, Viktor Pavlovich

Varviso, Silvio

Varvoglis, Marios

Vásárhelyi, Zoltán

Vásáry, Tamás

Vasconcellos, Joaquim (António da Fonseca) de

Vasconcellos Corrêa, Sérgio (Oliveira) de

Vasconcelos [Vasconcellos] (Moniz Bettencourt), Jorge Croner de (Santana e)

Vasilenko, Sergey Nikiforovich

Vasilescu, Ion

Vasil'yev-Buglay, Dmitry Stepanovich

Vasina-Grossman, Vera Andreyevna [Grossman, Vera]

Vasks, Pēteris

Vaslin, Olive-Charlier

Vásquez, José (Francisco)

Vásquez, [Vázquez] Juan

Vass, Lajos

Vassallo, Paolino

Vasseur, Léon (Félix Augustin Joseph)

Vasson, Pierre.

Vatelot, Etienne

Vater, Christian

Vatielli, Francesco

Vatsyayan, Kapila

Vaubouin [Vauban, Vauboyet].

Vaudeville

Vaudry, Jean Etienne, Seigneur de Saizenay et de Poupet

Vaughan, James D(avid)

Vaughan, Sarah (Lois) [Sassy]

Vaughan, Stevie Ray

Vaughan Thomas, David

Vaughan Williams, Ralph

Vaughan Williams Memorial Library.

Vautor, Thomas

Vautrollier, Thomas

Vauxhall Gardens.

Vayllant, Jehan [Johannes].

Vaynberg, Moisey Samuilovich.

Vaz da Costa [de Acosta], Afonso [Alfonso].

Vaziri, Ali Naqi

Vázquez, Alida

Vázquez, Juan.

Vaz Rego, Pedro.

Veale, John

Veana, Matías Juan de

Veasey, Josephine

Vecchi, Giuseppe

Vecchi, Lorenzo

Vecchi, Orazio [Horatio] (Tiberio)

Vecchi, Orfeo

Vecchi detto Delle Palle, Scipione.

Vécla, Djemma.

Vecoli [Veccoli].

Vecsey, Franz von

Vécsey, Jenő

Veerhoff, Carlos (Heinrich)

Veg, Willem de.

Vega.

Vega, Aurelio de la

Vega, Carlos

Vega Matus, Alejandro

Vegezzi-Bossi.

Veggio, Claudio Maria

Végh, Sándor

Végh Quartet.

Vehe, Michael

Veichtner [Feichtner], Franz Adam

Veiga.

Veiga, José Augusto Ferreira, Visconde do Arneiro

Veillot [Villot], Jean

Veinert, Antoni.

Veit, Huns

Veit, Václav (Jindřich) [Wenzel Heinrich]

Vejvanovský, Pavel Josef [Weiwanowsky, Wegwanowsky, Paul Joseph]

Vejvodová, Hana

Velasco, Nicolás Doizi de.

Velasco, Sebastián López de.

Velasco Llanos, Santiago

Velasco Maidana, José María

Velásques [Velásquez, Velázquez], José Francisco

Velásquez, Glauco

Velázquez, José Francisco.

Veldeke, Hendrik van.

Velden, Renier van der.

Vel'gorsky, Matyev Yur'yevich.

Veličkova, Ljuba.

Velimirović, Miloš

Vella, Joseph

Vella, Michel’Angelo [Michaele Angelo]

Vello de Torices, Benito.

Vellones, Pierre [Rousseau, Pierre]

Velluti, Giovanni Battista

Veloce

Velocissimo.

Veloso, Caetano (Emanuel Viana Teles)

Velut, Gilet [Egidius]

Velvet Underground, the.

Vencelius.

Venda music.

Venedier, Vitalis

Venegas de Henestrosa, Luis

Veneri, Gregorio

Venetian swell.

Venetus, Franciscus.

Venezia

Venezianer, Sándor.

Veneziano [Veneziani], Gaetano

Veneziano, Giovanni

Venezuela, Bolivaran Republic of

Vengerov, Maxim

Vengerova, Isabelle [Isabella Afanasyevna]

Venice

Veni Creator Spiritus

Venier, Jean Baptiste

Veni Sancte Spiritus

Venite

Venkatamakhin

Vennard, William

Vent

Vent, Jan.

Ventapane, Lorenzo

Vente, Maarten Albert

Ventil

Ventilhorn

Vento, Ivo [Yvo] de

Vento, Mattia [Matthias]

Ventura, Angelo Benedetto

Ventura, Giuseppe

Ventura, José (María de la Purificación)

Venture, Jo. a la

Venture, Johannes à la.

Venturelli, Giuseppe

Ventures, the.

Venturi, Pompilio

Venturi del Nibbio, Stefano

Venturini, Francesco

Veprik, Aleksandr Moiseyevich

Vera, Edoardo [Odoardo]

Veracini, Antonio

Veracini, Francesco Maria

Veränderungen

Vera-Rivera, Santiago

Veras, Ph(ilippe) F(rançoi)s

Veray, Amaury

Verazi, Mattia

Verben, Johannes

Verbesselt, August

Verbey, Theo

Verbonnet, Johannes.

Verbrugghen, Henri

Verbunkos

Verbyts'ky, Mykhaylo

Verchaly, André

Vercoe, Elizabeth Walton

Vercore, Mathias [Matthias] Herman.

Verdalonga, José

Verdehr Trio.

Verdelot [Deslouges], Philippe

Verdi, Giuseppe (Fortunino Francesco)

Verdi, Pietro.

Verdiales.

Verdier [Werdier], Pierre

Verdina [Verdi, Värdi, Vardina], Pietro

Verdon, Gwen [Gwyneth Evelyn]

Verdonck [Verdonch, Verdonk, Verdoncq], Cornelis

Verdugo, Sebastián Martínez.

Verdzhaket.

Verecore, Mathias [Matthias] Hermann.

Verein für Musikalische Privataufführungen.

Vereniging voor Nederlandse Muziekgeschiedenis.

Vereshchahin, Yaroslav Romanovich

Veress, Sándor

Veretti, Antonio

Verger, Giovanni Battista [Giambattista]

Vergil.

Verhaar, Ary (Gerardus Petrus)

Verheyen, Pierre (Emmanuel)

Verhulst, Johannes (Josephus Hermanus)

Verio, Juan.

Verismo

Veritophilus.

Verius, Joanne [? Verio, Juan; van Vere]

Verjus (i) [Cornuel, Jean; Tribot, Sot, Saupicquet]

Verjus (ii) [Verjeust, Verjust; Guillot, Estienne]

Verlaine, Paul

Verlit [Verlith], Gaspar de

Verloge, Hilaire [Alarius]

Vermeeren [Vermeren], Anthonis [Anthoni]

Vermeer Quartet.

Vermeersch, Peter

Vermeulen, Matthijs [Van der Meulen, Mattheus Christianus Franciscus]

Vermillion, Iris

Vermont, Pernot [Pierre] [le jeune]

Vermont, Pierre [l’aîné] [Vermont primus, Vermond seniorem]

Vernacular music.

Vernart, Esteban.

Vernici, Ottavio.

Vernier, Jean Aimé [fils]

Vernizzi [Vernici, Invernizzi, Invernici], Ottavio

Vernon, Joseph

Verocai, Giovanni

Véron, Louis

Verona.

Veronensis, Peregrinus Cesena.

Verovio, Simone

Verrall, John (Weedon)

Verrecore, Mathias [Matthias] Hermann.

Verrett [Carter], Shirley

Verrijt [Verrit, Verrith, Verryt], Jan Baptist

Vers.

Versailles.

Verschiebung

Verschueren.

Verschuere Reynvaan, Joos(t)

Verse (i).

Verse (ii).

Verseghy, Ferenc

Verset.

Versicle

Versified Office.

Vers mesurés, vers mesurés à l’antique

Verso, Antonio il.

Verstimmung

Verstockt, Serge

Verstovsky, Aleksey Nikolayevich

Versus

Versus, Antonio il.

Vert.

Verte

Verticalization.

Vertical pianoforte.

Vertonung

Verulus.

Verve.

Verykivs'ky, Mykhailo Ivanovych

Veselá [Štěpánková], Alena

Veselinović-Hofman, Mirjana

Veselka, Josef

Veselý, Jan Pavel.

Vesely, Raimund Friedrich.

Vesi, Simone

Vespa, Girolamo

Vespers

Vespertini.

Vesque von Püttlingen, Johann

Vessel flute.

Vestris [Vestri].

Vetter [Vötter], Conrad [Cornu, Andreas de; Andreae, Conrad; Hueber, Martin; Hüber, Martin]

Vetter, Daniel

Vetter, Michael

Vetter, (Andreas) Nicolaus

Vetter, Walther

Vetterl, Karel

Vetulus de Anagnia, Johannes

Vevlira.

Veyron-Lacroix, Robert

Veysberg [Weissberg], Yuliya Lazarevna

Veysel, Aşık

Vèze

Vézina, Joseph (François)

Viadana, Berardo Marchese da

Viadana, Giacomo Moro [Jacobi Mori] da.

Viadana [Grossi da Viadana], Lodovico

Viaera, Fredericus

Viana, Frutuoso (de Lima)

Vianesi, Auguste Charles Léonard François

Vianna da Motta [Viana da Mota], José

Viardot, Paul.

Viardot [née García], (Michelle Ferdinande) Pauline

Vibert, Nicolas

Vibraharp.

Vibraphone.

Vibrato

Vibrato linguale

Vičar, Jan

Vicenot, Johannes [Joh.]

Vicente, Gil

Vicentino, Michele.

Vicentino, Nicola

Vicenza.

Vick, Graham

Vickers, Jon(athan Stewart)

Vico, Diana

Victimae paschali laudes

Victor.

Victoria, Tomás Luis de

Victorinus [Victorin], Georg

Victorius, Lauretus.

Victory, Gerard

Vic-Wells Opera.

Vidaković, Albe

Vidal, Louis Antoine

Vidal, Paul Antonin

Vidal, Peire

Vidala.

Vidala coya.

Vidales, Francisco de

Vidalita.

Vidal Pacheco, Gonzalo

Vidame de Chartres

Viðar, Jórunn

Vide, Jacobus

Videl

Video.

Viderkehr, Jacques.

Viderø, Finn

Vidošić, Tihomil

Vidovszky, László

Vidu, Ion

Vidula

Vidusso, Carlo

Viduus, Robert.

Vieira, (José) Ernesto

Viejas

Vielart [Vielars, Wilars] de Corbie

Viele [vielle]

Vièle à pique

Vielle (à roue)

Vielle organisée

Vienna

Vienna Boys’ Choir.

Vienna Capella Academica.

Vienna flute.

Vienna Konzerthaus Quartet.

Viera, Julio (Martín)

Vierdanck [Virdanck, Fierdanck], Johann [Johannes, Hans]

Vierhebigkeit

Vierk, Lois V.

Vierling, Johann Gottfried

Vierne, Louis(-Victor-Jules)

Viertel-Note

Viertelton

Vieru, Anatol

Vierundsechzigstel-Note

Vietnam, Socialist Republic of (Cong Hòa Xã Hoi Chủ Nghĩa Việt Nam).

Vieu, Jane [Jeanne Elisabeth Marie; Valette, Pierre]

Vieux, Maurice (Edgard)

Vieuxtemps.

Viéville, Jean Laurent le Cerf de la.

Vif

Viganò [Braglia], Onorato (Rinaldo Giuseppe Maria)

Viganò, Salvatore

Vigarani, Carlo

Vigarani, Gaspare

Vigel.

Vigesimaseconda

Vigils

Vignal, Marc

Vignali, Francesco (i)

Vignali, Francesco (ii)

Vignati, Giuseppe

Vigne, Antonius de.

Vigné, Louis

Vigneault, Gilles

Vigneron, Joseph Arthur

Vignola, Giuseppe

Vignoles, Roger

Vignon, Jérôme

Vigoni [Vigone].

Vigri, Girolamo di [de].

Viguerie, Bernard

Vihuela

Vihuela de arco

Vikár, Béla

Vikár, László

Vila.

Vilanova (y Barrera), Ramón

Vilar, Francisco

Vilar, José Teodor

Vilback, (Alfonse Charles) Renaud de

Vilers [Villa], Antoine de.

Vilins'ky, Mykola Mykolayovych

Villa, Petro.

Villabella, Miguel

Villaflor, Manuel de

Villafranca, Luis de

Villafranchi, Giovanni Cosimo.

Villalar (de Herrero), Andrés de

Villalba Muñoz, Luis

Villa-Lobos, Heitor

Villalpando, Alberto

Villancico

Villan di Spagna

Villanella [villanesca, canzone villanesca alla napolitana, aria napolitana, canzone napolitana, villanella alla napolitana]

Villanelle

Villanesca

Villani, Filippo

Villani [Villano], Gabriele [Gabriello, Gabrielle]

Villani [Villano], Gasparo

Villanis, Angelo

Villano

Villanueva (Conroy), Mariana

Villanueva, Martín de

Villar, Rogelio del

Villa Rojo, Jesús

Villarosa, Marquis of.

Villarroel, Verónica

Villate, (Montes) Gaspar

Villaverde Redondo, Enrique Manuel

Villeneuve, Alexandre de

Villeneuve, Louise [Luisa, Luigia]

Villers [Vilers, Villa], Antoine de

Villesavoye, Paul [de]

Villiers, P. [?Pierre] de

Villiers, Ubert [Hubert] Philippe de

Villifranchi [Villafranchi], Giovanni Cosimo

Villot, Jean.

Villoteau, Guillaume André

Villotta

Vilnius

Vimercati, Antonio.

Vimercati, Pietro (Maria Giovanni)

Vin.

Vīnā.

Vinaccesi [Vinacesi, Vinacese], Benedetto

Vinandi, Johannes.

Viñao, Alejandro (Raul)

Viñas, Francisco (i)

Viñas, Francisco [Viñas, Francesc; Vignas, Francesco] (ii)

Vinay, Ramón

Vincenci, Giacomo.

Vincençio da Imola [Vincenço].

Vincenet [Vincentius du Bruecquet]

Vincent.

Vincent, Caspar.

Vincent, Gene [Craddock, Eugene Vincent]

Vincent [van Ijzer-Vincent], Jo(hanna Maria)

Vincent, John

Vincent, Ruth

Vincent, Thomas

Vincent de Beauvais [Vincentius Bellovacensis]

Vincenti, Alessandro.

Vincenti [Vincenci, Vincenzi], Giacomo

Vincentius [Vincenti]

Vincentius [Vincent], Caspar

Vincentius Bellovacensis.

Vincenzi, Giacomo.

Vincenzo da Rimini [Magister Dominus Abbas de Arimino, L’abate Vincençio da Imola, Frate Vincenço]

Vincenzo di Pasquino.

Vinci, Leonardo

Vinci, Leonardo da.

Vinci, Pietro

Vincze, Imre

Vinders [Vender, Venders], Jheronimus

Vine, Carl (Edward)

Vinea, Antonius de.

Viner, William

Viner, William Litton

Viñes, Ricardo

Vineux [Vineus].

Vinholes, Luís Carlos (Lessa)

Vinier, Gilles le.

Viniziana.

Vintz [Vintzius, Wintz], Georg

Vio, Gastone

Viol [viola da gamba, gamba]

Viola

Viola, Dalla [Della].

Viola, Francesco.

Viola, Giovanni Domenico

Viola, Orazio della.

Viola bastarda.

Viola da braccio

Viola da gamba.

Viola da Gamba societies.

Viola d'amore

Viola da spalla [violoncello da spalla]

Viola di bardone [viola di bordone].

Viola di fagotto

Violão

Viola pomposa

Viole

Viole, Rudolf

Viole d'amour

Viole d’orchestre.

Violet.

Violeta

Violetta

Violetta marina

Violetta piccola

Violette, Wesley La.

Violin

Violina (i).

Violina (ii).

Violine

Violino

Violino, Carlo del.

Violino, Il.

Violin octet.

Violino di ferro

Violino piccolo

Violino pomposo.

Violino primo

Violin player, automatic.

Violon (i)

Violon (ii)

Violón

Violoncello [cello].

Violoncello, Giovannino del.

Violoncello da spalla

Violoncino.

Violon de fer

Violone

Viotta, Henri [Henricus Anastasius]

Viotta, Joannes Josephus

Viotti, Giovanni Battista

Viotti, Marcello

Viozzi, Giulio

Vir, Param

Virchi [Virche, Virchinus, Virchis, Virga, Virghi, Virgis, Vigri etc], Girolamo di [de]

Virchi, (Giovanni) Paolo [Targhetta]

Virchinus [Virchis], Girolamo di [de].

Virdanck, Johann.

Virdung [Grop], Sebastian

Virelai.

Virga [virgula]

Virga, Girolamo di [de].

Virga strata [gutturalis, franculus].

Virgelli, Emilio

Virghi, Girolamo di [de].

Virgil [Vergil; Publius Vergilius Maro]

Virgil, A(lmon) K(incaid)

Virgil practice clavier.

Virgin.

Virginal [virginals]

Virginia Minstrels.

Virgis, Girolamo di [de].

Virilas

Virtuosa

Virtuoso

Virués (Espinola) [y Spinola], José (Joaquín)

Vis-à-vis Flügel.

Viscarra Monje, Humberto

Visconti, Domenico

Visconti, Gasparo

Visconti, Giulio

Visconti (di Modrone), Count Luchino

Visée, Robert de

Wyschnegradsky [Vïshnegradsky], Ivan (Aleksandrovich)

Vishnevskaya, Galina (Pavlovna)

Visigothic rite.

Visitatio sepulchri

Viski, János

Vismarri [Vismari], Filippo

Vïsotsky, Mikhail Timofeyevich

Visse, Dominique

Vissenaken [Vissenaecken, Vissenaeken], Willem van

Visser-Rowland Associates.

Vistamente

Viste.

Vitale, Costantino

Vitale, Edoardo

Vitali.

Vitali, Angelo

Vitali, Bernardino

Vitali, Filippo

Vitásek [Wittaschek, Wittasek], Jan (Matyáš Nepomuk) August [Johann Matthias]

Vite

Vitelli, Vitellozzo.

Vitet, Ludovic [Louis]

Vithele.

Vītoliņš, Jēkabs

Vītols, Jāzeps [Wihtol, Joseph]

Vitruvius Pollio

Vitry, Philippe de [Vitriaco, Vittriaco]

Vittadini, Franco

Vittori [Vittorij], Loreto [Victorius, Lauretus; Rovitti, Olerto]

Vittoria, Tomás Luis de.

Vitula

Vitzthumb [Fitzthumb, Witzthumb, Vistumb], Ignaz [Ignace]

Viula

Vivace

Vivacissimo, vivacissimamente.

Vivaldi, Antonio (Lucio)

Vivanco, Sebastián de

Vivarino, Innocentio

Vives [Roig], Amadeo [Amadeu]

Viviani, Antonio Maria

Viviani, Elena Croce.

Viviani, Giovanni Buonaventura

Vivier, Claude

Vivier, Eugène (Léon)

Vivo

Viyel'gorsky, Matvey Yur'yevich.

Viyel'gorsky, Mikhail Yur'yevich.

Vizzana [Vizana], Lucrezia Orsina

Vlaamse Operastichting

Vlachopoulos, Yannis [Jannis]

Vlach Quartet.

Vlad, Roman

Vlad, Ulpiu

Vladigerov, Aleksandar

Vladigerov, Pancho (Haralanov)

Vladimirova, Valeriya.

Vladïshevskaya, Tat'yana Feodos'yevna

Vlasenko, Lev (Nikolayevich)

Vlasov, Vladimir Aleksandrovich

Vleescher.

Vlier

Vlijmen, Jan van

VMI [Vogtländische Musikinstrumentenfabrik].

Voboam [Voboame, Vaubouin, Vauban, Vauboyet, Vobuan, Vogeant, Roboam].

Vocalese.

Vocal horn.

Vocalion.

Vocalise

Vocalization.

Vocal score.

Voce

Voce di petto

Voce di testa

Voce humana

Voces belgicae

Voce umana

Voci pari, voci mutate

Vockerodt [Fokkerod], Gottfried

Vocoder.

Voctuis [Voctus], Michael.

Vodička, Václav.

Vodňanský, Jan Campanus.

Vodorinski, Anton.

Vodušek, Valens

Voegelin, Fritz

Voelckel, Samuel

Voet [Voetus], Michael.

Vogeant.

Vogel, Adolph.

Vogel, Charles-Louis-Adolphe

Vogel, (Johannes) Emil (Eduard Bernhard)

Vogel, Jaroslav

Vogel [Fogel], Johann Christoph

Vogel [Vogl], Kajetán [Caetano, Cajetan]

Vogel, Louis [Ludwig]

Vogel, Wladimir (Rudolfovich)

Vogeleis, Martin

Vogelgesang

Vogelhofer [Vogelmaier], Andreas.

Vogelorgel

Vogelsang, Johann [Johannes]

Vogelstätter, Andreas.

Vogelweide, Walther von der.

Vogl, Caetano.

Vogl, Heinrich

Vogl, Johann Michael

Vogl, Kajetán.

Vogl, Therese.

Vogler, Georg Joseph [Abbé Vogler]

Vogler, Johann Caspar

Vogt, Augustus Stephen

Vogt, (Auguste-Georges-)Gustave

Vogt, Hans

Vogt, Martin

Vogt, Mauritius [Joannes Georgius]

Vogt [Voctuis, Voctus, Voet, Voetus, Voicius, Voigt, Voit], Michael

Vogüé Manuscript.

Voice.

Voice-exchange

Voice flute.

Voice-leading.

Voicing.

Voicius, Michael.

Voicu, Ion

Voiculescu, Dan

Voigt, Deborah

Voigt, Michael.

Voigtländer, Gabriel

Voigtländer, Lothar

Voirin, François Nicolas

Voit.

Voit, Michael.

Voix

Voix céleste

Voix de ville.

Voix humaine

Voix mixte

Voix sombrée

Vojáček, Hynek (Ignác František) [Voyachek, Ignaty Kasparovich]

Vojta, Jan Ignác František

Vojtěch.

Vojtěch, Ivan

Vojvodina.

Vokaleinbau

Volánek [Wolanek, Wollaneck, Wollanek], Antonín (Josef Alois) [Anton]

Volans, Kevin

Volbach, Fritz

Volckland, Franciscus [Franziskus, Franz]

Volckmar, Wilhelm (Adam Valentin)

Volcyr, Nicolas.

Volée, Jean de la.

Volek, Jaroslav

Volek, Tomislav

Volk.

Völker, Franz

Volkert, Franz (Joseph) (i)

Volkert, (Johann) Franz (ii)

Volkmann, (Friedrich) Robert

Volkonsky, Andrey Mikhaylovich

Volkov, Kirill Yevgen'yevich

Volkov, Solomon (Moiseyevich)

Volkstümliches Lied

Vollaerts, Jan W(ilhelmus) A(ntonius)

Vollerthun, Georg

Volles Werk.

Vollkommene Kadenz

Volodos, Arcadi

Vologda.

Voloshinov, Viktor Vladimirovich

Volpe [Rovettino, Rovetta, Ruettino], Giovanni Battista

Volpe, Lelio della.

Volpi, Giacomo.

Volta (i) [lavolta, levolto]

Volta (ii)

Volta (iii)

Voltage control

Volte

Volti subito

Voltz, Hans.

Voluda, Ginés de.

Volumier [Woulmyer], Jean Baptiste

Voluntary.

Vomáčka, Boleslav

Vom [von] Berg, Johann.

Vom Brandt [Brant], Jobst.

Vom Perg, Johann.

Von Arnim, Bettina [Elisabeth].

Von Hagen, P(eter) A(lbrecht).

Von Huy, Martin.

Vonk, Hans

Von Ramm, Andrea

Von Seckendorff, Karl Siegmund.

Von Stade, Frederica

Von Tilzer [Gumm], Albert

Von Tilzer, Harry [Gumm, Harold]

Von Toesky, Johann Baptist.

Voorberg, Marinus

Voormolen, Alexander (Nicolaas)

Vopa, Giovanni Donato

Vopelius, Gottfried

Vorberg, Gregor

Vordergrund

Vordersatz

Vorhalt

Vorimitation

Voříšek, Jan Václav (Hugo) [Worzischek, Johann Hugo]

Vorlová, Sláva [Johnová, Miroslava]

Vorobchievici, Isidor

Vorob'yova, Anna Yakovlevna.

Vorschlag

Vorspiel (i)

Vorspiel (ii)

Vortakt

Vos [Voz], Laurent de

Voss, Friedrich

Voss, Johann Heinrich

Vossius [Voss], Gerhard Johann

Vostřák, Zbyněk

Votey, Edwin Scott

Votive ritual

Vötter, Romanus.

Vötterle, Karl

Votto, Antonino

Vounderlich, Jean-Georges.

Vowles, William Gibbons

Vox.

Vox angelica

Vox humana (i)

Vox humana (ii) (Lat.: ‘human voice’).

Voyachek, Ignaty Kasparovich.

Voytik, Viktor Antonovich

Voz, Laurent de.

Voz humana

Voznesensky, Ivan Ivanovich

Vrangel, Vasily Georgiyevich.

Vranický, Anton.

Vranický, Pavel.

Vrede, Johannes.

Vredeman [Vredman, Vreedman].

Vredenburg, Max

Vreese, Frédéric de.

Vreuls, Victor (Jean Léonard)

Vriend, Jan

Vries, Han (Libbe [Samuel]) de

Vries, Klaas de

Vrieslander, Otto

Vronsky, Vitya

Vroye, Théodore Joseph de.

V.S.

Vuataz, Roger

Vučković, Vojislav

Vuert, Giaches de.

Vuigliart, Adriano.

Vuildre, Phl de.

Vuillaume, Jean-Baptiste

Vuillermoz, Emile

Vukdragović, Mihailo

Vulfran.

Vulpen, Van.

Vulpius [Fuchs], Melchior

Vuori, Harri

Vuota

Vurnik, Stanko

Vurstisius, Emanuel.

Vustin, Aleksandr Kuz'mich

Vyčichlová, Libuše.

Vycpálek, Ladislav

Vysloužil, Jiří

Vyvyan, Jennifer (Brigit)

Vaccai, Nicola

(b Tolentino, 15 March 1790; d Pesaro, 5/6 Aug 1848). Italian composer and singing teacher. Though he was born into a family of doctors, his first inclination was towards poetry; by the age of 17 he had written four verse tragedies in the style of Alfieri, one of which was performed by a professional company in Pesaro. Not until he left for Rome in 1807 to read law did he become aware of his true vocation: he began to take regular music lessons from Giuseppe Janacconi, later maestro di cappella of S Pietro, and by 1811 had been awarded the diploma di maestro of the Accademia di S Cecilia. He then went to Naples, where he studied dramatic composition with Paisiello, gaining his first practical experience by writing church music and insert arias for opera revivals in Neapolitan theatres. Encouraged by his début at the Teatro Nuovo with I solitari di Scozia (1815), Vaccai left for Venice in search of opera commissions. But there success eluded him; Malvina (1816) was removed after one night, while Il lupo di Ostenda (1818) was criticized as imitation Rossini. Four ballets, written for La Fenice between 1817 and 1821, fared better. Meanwhile, his literary training bore fruit in an Italian translation of the libretto of Méhul’s Joseph.

During this period Vaccai was much in demand in Venetian high society as a singing teacher. In this capacity he went to Trieste in 1821, spending three months in 1822 at Frohsdorf, near Wiener Neustadt, in the establishment of Murat’s widow. Still hoping for operatic fame in Italy, he turned down an offer to be Kapellmeister at Stuttgart. After leaving Trieste for good in 1823 he secured a commission for the Teatro Ducale, Parma, resulting in Pietro il grande (1824), in which Vaccai himself substituted for one of the singers; this inaugurated a brief period of theatrical glory for him, to which belong Zadig e Astartea (1825, Naples) and his masterpiece Giulietta e Romeo (1825, Milan), the only one of his operas to achieve frequent performance outside Italy.

With the advent of Bellini, Vaccai’s fortunes declined rapidly. Saladino e Clotilda (1828, Milan) was received so badly that his commission to compose an opera for the opening of the Teatro Carlo Felice in Genoa was revoked in Bellini’s favour. A quarrel with Felice Romani – Vaccai had failed to ensure full payment to him for the libretto of Saul – undoubtedly played its part in the decision by Romani and Bellini to recoup their losses over Zaira with the hastily written I Capuleti e i Montecchi, which inevitably eclipsed Vaccai’s slighter opera on the Romeo and Juliet story. But the older composer was avenged at a Paris performance in 1832 when Malibran, at Rossini’s suggestion, interpolated the penultimate scene of Vaccai’s opera into Bellini’s. From then on this became a regular option for contraltos such as Marietta Alboni who essayed the role of Bellini’s Romeo, originally written for the soprano Giuditta Grisi; hence its inclusion as an appendix in all later printed editions of I Capuleti e i Montecchi.

In 1830 Vaccai renounced the stage for the second time and went to Paris as a teacher. A visit to England in that year was unexpectedly prolonged until 1833, while he enjoyed a highly successful career as a teacher and composer of salon pieces. During that time he published his Metodo pratico di canto italiano per camera (London, 1832), still a standard work. On the death of his father in 1833 he returned to Italy to settle down, marry and raise a family. Once again the lure of the theatre proved strong. But in spite of the presence of Malibran in the title role, his Giovanna Gray (1836, Milan) was a failure.

Compensation came in the offer of a post at the Milan Conservatory. After succeeding Basili as censore in 1838, he reorganized the study of singing, inaugurated opera performances among his students on the Neapolitan model and set up a new choir school. He also enlarged the repertory to include the German classics. However, the reversal in 1843 of his decision to include Handel’s Messiah in the conservatory’s celebration of Holy Week determined him to resign the following year and he returned to manage his family estates at Pesaro. In 1845 his operatic activity came to an end with Virginia, performed at Rome. Even in retirement he continued teaching and composing with an industry that is thought to have hastened his death.

In a famous letter of 1851 Rossini paid tribute to Vaccai as a teacher and a composer ‘in whom sentiment was allied to philosophy’. Yet as a theatre composer he was an honourable failure. Very few of his operas were ever printed in their entirety. Zadig e Astartea and Giulietta e Romeo owed their success to a delicate, personal inflection of the current Rossinian style, but they were not proof against the much higher emotional charge of Bellini’s music. Two of the later works achieved a certain succès d’estime: Marco Visconti (1838, Turin) shows an attempt to come to terms with the dramatic style of Donizetti, but the best of it is to be found in isolated, often purely episodic pieces of a refined charm and workmanship; Virginia is a full-blown Risorgimento opera with plentiful choruses and two stage bands, whose intermittent grandeur recalls Spontini rather than Vaccai’s contemporaries. Both operas show a regard for academic values unusual at the time. More successful are the many songs and ariette per camera, in which Vaccai exploited his slight but genuine melodic gift and his keen feeling for words. The religious compositions are distinguished by the skill of their part-writing and sure sense of effect. It is, however, as a singing teacher that Vaccai left his chief mark. His Metodo pratico is not only an excellent primer for the amateur but also a valuable document for the study of 19th-century performing practice.

WORKS

operas

I solitari di Scozia (melodramma, 2, A.L. Tottola, after G. De Gamerra), Naples, Nuovo, 18 Feb 1815, I-TOL*

Malvina (op sentimento, 2, G. Rossi), Venice, S Benedetto, 8 June 1816, TOL* (inc.)

Il lupo di Ostenda, ossia L’innocenza salvata dalla colpa (op semiseria, 2, B. Merelli), Venice, S Benedetto, 17 June 1818, TOL*

Pietro il grande, ossia Un geloso alla tortura (dramma buffo, 2, Merelli), Parma, Ducale, 17 Jan 1824, excerpts (Milan, 1824)

La pastorella feudataria (op semiseria, 2, Merelli), Turin, Carignano, 18 Sept 1824, US–Wc, excerpts (Milan, 1826; London, n.d.)

Zadig ed Astartea (dramma per musica, 2, Tottola, after Voltaire), Naples, S Carlo, 21 Feb 1825; rev. version, Trieste, 1826; as L’esiliato di Babilonia, Venice, 1832; I-TOL (with autograph annotations), US–Wc, excerpts (Milan, 1826 or 1827/R; IOG, xlv; Paris ?1825)

Giulietta e Romeo (tragedia, 2, F. Romani), Milan, Cannobiana, 31 Oct 1825, I-Mr*, copy Mc, vs (Milan, 1826/R); IOG; xlv); rev. version (3), Milan, 1835, Mc

Bianca di Messina (os, 2, L. Piossasco), Turin, Regio, 20 Jan 1826; TOL, excerpts (Milan, 1826)

Il precipizio, o Le fucine di Norvegia (melodramma semiserio, 2, Merelli), Milan, Scala, 16 Aug 1826, Mr*, copy TOL (with autograph annotations), excerpts (Milan, 1826 or 1827)

Saul (azione sacra, 2, Romani), 1826, unperf.; rev. version (tragedia lirica, Tottola), Naples, S Carlo, 11 March 1829; rev. version, Milan, 1829; Mr*, TOL*, copy TOL, excerpts (Milan, n.d.)

Giovanna d’Arco (melodramma romantico, 4, Rossi, after F. von Schiller), Venice, Fenice, 17 Feb 1827; rev. version, Naples, 1828; Mr*, copy TOL, excerpts (Milan, 1827)

Saladino e Clotilda (melodramma tragico, 2, L. Romanelli), Milan, Scala, 4 Feb 1828; TOL*, excerpts (Milan, 1828)

Alexi (azione tragica, 2, Tottola), Naples, S Carlo, 6 July 1828, begun by C. Conti

Giovanna Gray (tragedia lirica, 3, C. Pepoli), Milan, Scala, 23 Feb 1836; TOL*, copy TOL, excerpts (Milan, 1836)

Marco Visconti (dramma lirico, 2 acts [4 giornate], L. Toccagni), Turin, Regio, 27 Jan 1838; TOL*, vs (Milan, 1839)

La sposa di Messina (melodramma, 3, J. Cabianca, after Schiller), Venice, Fenice, 2 March 1839; TOL

Virginia (tragedia lirica, 3, C. Giuliani), Rome, Apollo, 14 Jan 1845; rev. version, Pesaro, 1846; Mr*, copy TOL, vs (Milan, 1846)

other works

Cants.: Dafni ed Eurillo, ?1813; Andromeda, 1814; L’omaggio della gratitudine, 1814, I-TOL*; Ildegonda, 1827; Il monumento di Milano, last pt. of In morte di M.F. Malibran de Bériot (A. Piazzi), Milan, Scala, 17 March 1837, collab. Donizetti, Pacini, Mercadante, Coppola; vs (Milan, 1837)

Ballets, all perf. Venice, Fenice: Camina, regina di Galizia, 1817; Timurkan, 1820; Il trionfo di Alessandro in Babilonia, 1820, ov., TOL*; Ifigenia in Aulide, 1821

Sacred: Mass, 4vv; Ky-Gl; Ky; 3 Gl; Laudamus; 3 Gratias; Domine Deus; 3 Quoniam; Cum Sancto Spirito; 3 Cr; Domine Deus-Ag; 2 Qui tollis; Dies irae, inc.; 3 Mag, Mag-Gl, 6 ps; Gloria Patri nel dixit, 6 Tantum ergo; Iste confessor; Salve regina; Holy Week service, inc.; several motets etc, all TOL (mostly autograph); others, MAC, NOVd, Vnm

Other vocal: more than 100 chbr pieces, incl. ariette, notturni, arias, romanze, duets, etc., many in TOL*, most pubd (Milan, Paris, London); Italia redenta, hymn, 1848, TOL*

Inst: Variations on ‘God Save the King’, vn, pf (London, ?1820); Fuga tonale di un Credo, org, TOL*; Concertone da camera, TOL*; Str Qnt, after 1837; Fanfara ed introduzione all’Inno nazionale, orch, Mr

Pedagogical: Studi di contrappunto, TOL; 12 ariette per camera in chiave di violino per l’insegnamento del bel canto italiano (Milan, 1840); Metodo pratico di canto italiano per camera diviso in 15 lezioni, ossiano Solfeggi progressivi ed elementari sopra parole di Metastasio (London, 1832)

BIBLIOGRAPHY

G. Vaccai: La vita di Nicola Vaccaj scritta dal figlio Giulio con prefazione del professore A. Biaggi (Bologna, 1882)

L. Orrey: Bellini (London, 1969), 100ff

JULIAN BUDDEN

Vaccaro, Jean-Michel

(b Le Petit-Quevilly, Seine-Maritime, 31 May 1938; d Tours, 21 Oct 1998). French musicologist. He studied at the Institut de Musicologie at the Sorbonne under the supervision of Chailley (1965–70), and trained at the Centre d’Etudes Supérieures de la Renaissance in Tours with André Souris (1964–9) and at the CNRS in Paris with Jean Jacquot (1966–83). From 1970 until his retirement in 1997 he taught at Tours University, where he founded the department of musicology and became professor in 1979. In 1984 he founded the Groupe de Formation Doctorale ‘Musique et Musicologie’, a liaison committee that links Tours University with the Ecole Normale Supérieure, Paris Conservatoire and the Ecole Pratique des Hautes Etudes. He was the director of this committee until 1995. From 1991 to 1996 he was also director of the Centre d’Etudes Supérieures de la Renaissance in Tours. He was awarded the silver medal of the CNRS in 1981 and received the honorary doctorate in 1994 from the Université Libre de Bruxelles.

Vaccaro undertook research on 16th-century vocal music, instrumental music from the 16th–18th centuries, particularly lute music, and the music of Stravinsky. He examined the second of these subjects in his doctoral dissertation La musique de luth en France au XVIe siècle. He also published many volumes of the collected edition entitled Corpus des luthistes français. In addition to his research work, Vaccaro was an active musician. He directed the Ensemble Vocal Universitaire de Tours, a choir that he founded, which specialized in the oratorio repertory from Schütz in the 17th century to Stravinsky in the 20th.

WRITINGS

‘Jean de Ockeghem, trésorier de l’église Saint-Martin de Tours de 1459(?) à 1497’, Johannes Ockeghem en zijn tijd (Dendermonde, 1970), 60–76

‘Le livre d’airs spirituels d’Anthoine de Bertrand’, RdM, lvi (1970), 35–53

‘A propos de deux éditions critiques de l’oeuvre de Francesco da Milano: méthodologie de la transcription des tablatures de luth et interprétation métrique de la musique du milieu du XVIe siècle’, RdM, lviii (1972), 176–89

‘Metrical Symbolism in Schütz’s Historia des Geburt Jesu Christi’, Image and Symbol in the Renaissance, ed. A. Winandy (New Haven, CT, 1972), 218–31

‘Proposition d’analyse pour une polyphonie vocale du XVIe siècle’, RdM, lxi (1975), 35–58

ed.: La chanson à la Renaissance: Tours 1977

‘La musique dans l’Histoire du soldat’, Théâtre et musique, Les voies de la création théâtrale, vi, ed. J. Jacquot (Paris, 1978), 53–76

ed.: Le luth et sa musique II: Tours 1980 [incl. ‘Une courante célèbre de Dubut le Père: une étude de concordances’, 229–52]

La musique de luth en France au XVIe siècle (Paris, 1981)

‘Poésie et musique: formes linéaires, formes circulaires’, L’automne de la Renaissance: 1580–1630: Tours 1979, ed. J. Lafond and A. Stegmann (Paris, 1981), 329–41

ed.: Arts du spectacle et histoire des idées: recueil offert en hommage à Jean Jacquot (Tours, 1984) [incl. ‘Poésie et Musique: le contrepoint des formes à la fin du XVIe siècle’, 213–28]

‘L’apogée de la musique “flamande” à la cour de France à la fin du XVe siècle’, La France de la fin du XVe siècle: renouveau et apogée: Tours 1983, ed. B. Chevalier and P. Contamine (Paris, 1985), 253–62

‘Roland de Lassus, les luthistes et la chanson’, RBM, xxxix-xl (1985–6), 158–74

‘En guise de cadeau musical: deux chansons françaises anonymes du XVIe siècle’, L’intelligence du passé: les faits, l’écriture et le sens: mélanges offerts à Jean Lafond par ses amis, ed. P. Aquilon, J. Chupeau and F. Weil (Tours, 1988), 61–72

‘Formes sonores, formes visuelles et formes mentales chez Igor Stravinsky’, Musiques, signes, images: liber amicorum François Lesure, ed. J.-M. Fauquet (Geneva, 1988), 271–7

‘Les préfaces d’Anthoine de Bertrand’, RdM, lxxiv (1988), 221–36

‘La fantasia sopra... in the Works of Jean-Paul Paladin’, JLSA, xxiii (1990), 18–36

ed.: The Rakes’s Progress: un opéra de W. Hogarth, W.H. Auden, C. Kallman et I. Stravinsky (Paris, 1990) [incl. ‘The Rake’s Progress: étude de la partition’, 83–140]

ed.: Le concert des voix et des instruments à la Renaissance: Tours 1991

‘Las! pour vous trop aymer: a Sonnet by Pierre de Ronsard set to Music by Anthoine de Bertrand’, Music before 1600, ed. M. Everist (Oxford, 1992), 175–207

‘Geometry and Rhetoric in Anthoine de Bertrand’s Troisiesme livre de chansons’, Studies in Medieval and Early Modern Music, ed. I. Fenlon (Cambridge, 1994), 217–48

‘Les tablatures françaises des manuscrits 76b et 76c d’Uppsala’, Musica Franca: Essays in Honor of Frank d’Accone, ed. I. Alm, A. McLamore and C. Reardon (New York, 1996), 489–510

editions

Oeuvres d’Albert de Rippe, i: Fantasies, Corpus des luthistes français (Paris, 1972/R); ii: Motets et chansons, ibid. (Paris, 1974); iii: Chansons et danses, ibid. (Paris, 1975)

with A. Souris and M. Rollin: Oeuvres de Vaumesnil, Edinthon, Perrichon, Rael, Montbuysson, La Grotte, Saman et La Barre, Corpus des luthistes français (Paris, 1974)

A. Le Roy: Les instructions pour luth (1574), Corpus des luthistes français (Paris, 1977) [2 vols; vol. i with J. Jacquot and P.-Y. Sordes]; Sixiesme livre de luth (1559), ibid. (Paris, 1978)

with M. Rollin: Oeuvres des Mercure, Corpus des luthistes français (Paris, 1977)

with M. Rollin: Oeuvres des Dubut, Corpus des luthistes français (Paris, 1979)

with M. Rollin: Oeuvres de Pinel, Corpus des luthistes français (Paris, 1982)

with M. Renault: Oeuvres de Jean-Paul Paladin, Corpus des luthistes français (Paris, 1986)

with N. Vaccaro: G. Morlaye: Oeuvres pour le luth, ii: Manuscrits d’Uppsala, Corpus des luthistes français (Paris, 1989)

with C. Dupraz: Oeuvres de Francesco Bianchini (François Blanchin), Corpus des luthistes français (Paris, 1996)

“…La musique de tous les passetemps le plus beau…”: hommage à Jean-Michel Vaccaro, ed. V. Coelho, F. Lesure and H. Vanhulst (Paris, 1998) [incl. full list of writings and editions, 387–92]

JEAN GRIBENSKI

Vacchelli, Giovanni Battista

(b Rubiera, nr Reggio nell'Emilia, c1625; d in or after 1667). Italian composer and organist. He was a Franciscan friar. According to the title-page of Il primo libro de motetti concertati, for two to four voices and organ, op.1 (Venice, 1646), his first appointment was as organist at Rubiera. In 1657 he became maestro di cappella of S Francesco, Bologna. The title-page of his Motetti a voce sola, libro primo, op.2 (Venice, 1664) recorded that he had been appointed magister musices of the Franciscan order in the previous year. From at least 1664 until 1667 he was a member, under the name of Accademico Naufragante, of the Accademia della Morte at Finale di Modena. At the time of the printing of his Sacri concerti a 1–4 voci con violini e senza, libro secondo, op.3 (Bologna, 1667) he was maestro di cappella at Pesaro. His surviving music, which probably constitutes his entire output, consists of sacred vocal works for small forces and was probably written for performance in the churches to which he was attached.

Vacchi, Fabio

(b Bologna, 19 Feb 1949). Italian composer. At Bologna Conservatory, he studied choral music and choral conducting with Tito Gotti (diploma 1971) and composition with Manzoni (diploma 1974). He also studied at the Accademia Musicale Chigiana in Siena, with Donatoni, and at Tanglewood, where he won the Koussevitzky Prize for composition (1974). In 1976 he won first prize in the Gaudeamus Competition in the Netherlands for his first acknowledged work, Les soupirs de Geneviève (1974–5). Vacchi lived in Venice from 1975 to 1992, when he settled in Milan; he began to teach composition at the conservatory there in 1993.

Vacchi's music is characterized in particular by its quality of sound, fluid, refined and shimmering, subtly nuanced and suggestive of echoes and reverberations. The rigour of his compositional procedures (with their roots in his apprenticeship with Manzoni and Donatoni) is tied to a concern to create a communicative idiom which takes account of the listener's perceptive ability and which is not afraid to use consonance, a personal melodic manner and to forge links with history and tradition. Of his earlier works, notable are Ballade (1978), Scherzo (1979), Continuo (1979), many passages from the opera Girotondo (1982), Il cerchio e gli inganni (1982) and the Piano Concerto (1983). In the Ballade, a gentle, fluid and richly ornamented melodic line defines a particular relationship with harmonies and timbres. In Girotondo, the apparent frivolity of Schnitzler's Reigen meets a compositional response of profound melancholy, like a mechanism turning to no purpose. The emphasis on vocal virtuosity in some of the arias or ariettas almost seems to suggest the senseless movement of a caged bird as it vainly tries to fly.

During the years which separate Girotondo from Vacchi's next opera, Il viaggio (1987–9), the composer moved towards greater transparency of sound and less density of material; examples are the expressive poetic evocation of L'usgnol in vatta a un fil for ensemble (1985) and the chamber pieces which make up the cycle of Luoghi immaginari (1987–92). This cycle brings together works which are among Vacchi's most representative; its Trio (1987), Quintet (1987) and Quartetto a Bruno Maderna (1989) are also preparatory sketches for Il viaggio. This second opera recounts the journey of an elderly husband and wife from Romagna who leave the village where they have always lived to visit the sea for one time; they arrive on a foggy day when they can see nothing. A journey between reality, memory and dream, Vacchi requires the singers to produce a sound which is as natural as possible (a very different approach to that in Girotondo), and the sung words of the brief text are absorbed within the kaleidoscopic richness of the orchestral writing.

To a text by Myriam Tanant and freely inspired by a little-known Goldoni libretto, I bagni d'Abano, the verbal inflection of the text is the starting point for fluid, natural melodic patterns. These are echoed in the instrumental counterpoint, the restraint and delicacy of which ensures that the text always stands out. From the point-of-view of pitch material, all aspects of the score can be traced to five-note harmonic fields, producing a transparent diatonic quality to match the atmospheric timbres. Various events rapidly intersect in a lively kaleidoscope of situations and moods, until everything is left hanging upon the final aria of the singer who, having until that point only used Sprechgesang, finds her voice again. Among other recent works, the ballet Dioniso germogliatore (1996–8) reveals a new complexity and a symphonic breadth of scale.

WORKS

(selective list)

Stage: Girotondo (op, 2, R. Roversi, after A. Schnitzler: Reigen), Florence, Pergola, 16 June 1982; Il viaggio (op, 5 scenes, T. Guerra), 1987–9, Bologna, Comunale, 23 Jan 1990; La station thermale (dramma giocoso, 3, M. Tanant), Lyons, Opéra, 13 Nov 1993; Faust (poema coreografico), tape, Bologna, 6 Dec 1995; Dioniso germogliatore (ballet), orch, elecs, 1996–8, Siena, Teatro dei Rozzi, 7 Aug 1998; Les oiseaux de passage (op, Tanant), Lyons, Opéra, 1998Orch: Sinfonia in 4 tempi, 1976; Pf Conc., 1983; Danae, orch, 1989; Prima dell'alba, orch, 1992; Notturno concertante, gui, orch, 1994Other inst: Les soupirs de Geneviève, 11 str, 1974–5; Il cerchio e gli inganni, ens, 1982; L'usgnol in vatta a un fil, ens, 1985; Luoghi immaginari, cycle of works: Trio, fl, bn, pf, 1987, Qnt, fl, b cl, vn, vc, hp, 1987, Quartetto a Bruno Maderna, cl, vib, va, pf, 1989, Otteto a Luigi Nono, fl, cl, bn, vib, hp, pf, vn, va, vc, 1991, Settimino, fl, b cl, bn, pf, vn, va, vc, 1992; Sestetto, vib, hp, vn, va, vc, 1991; Str Qt, 1992; Dai calanchi di Sabbiuno, fl, b cl, vn, vc, bell, 1995, orchd 1997, arr. chbr orch 1998; In alba mia dir, vc, 1995; Wanderer-Oktett, ens, 1997Vocal: Ballade (W.B. Yeats), S, ens, 1978; Scherzo (T. Guerra), S, ens, 1979; Continuo (D. Campana), S, ens, 1979; Trois visions de Géneviève (R. Roversi), 1v, 11 str, 1981; Sacer sanctus (G. Pontiggia), cant., chorus, ens, 1996; Briefe Büchners, Bar, pf, 1996; Io vorrei (A. Merini), superato ogni tremore, S, ens, 1998

BIBLIOGRAPHY

F. Vacchi: ‘Note preliminari all'opera “Il vaggio”’, Il verri, 8th ser., nos.5–6 (1988), 59–63

N. Sanvido: ‘Incontro con Fabio Vacchi di Nildo Sanvido: in cammino verso la comunicazione’, Sonus, ii/2 (1990) 43–59

G. Pestelli, F. Pulcini, F. Vacchi: Le ragioni del canto: Fabio Vacchi (Turin, 1997)

E. Girardi: Il Teatro Musicale Italiano Oggi: La Generazione Della Postaranguardia (Turin, 2000)

PAOLO PETAZZI

Vacek, Miloš

(b Horní Roveň, nr Pardubice, 20 June 1928). Czech composer. He studied the organ at the Prague Conservatory (1943–7) and composition with Pícha and Řídký at the Prague Academy of Musical Arts (1947–51). While serving as a conscript in the army he was active as a composer in the Military Art Ensemble. Since 1954 he has made his living as a composer. His first opera, Jan Želivský, written at the age of 22, revealed an instinct for dramatic form which he developed further in his ballets, musical comedies and incidental music. Integral to his output are functional pieces, some of which are popular in style.

WORKS

(selective list)

Operas: Jan Želivský (6, M. Kroha), 1956–8, rev. 1974; Bratr Žak [Brother Jack] (2, N. Mauerová and Vacek, after I. Olbracht), 1976–8; Romance pre křídlovku [Romance for the Bugle] (chbr op, 2 scenes and epilogue, Mauerová, after F. Hrubín), 1980–81; Kocour Mikeš [Mikeš the Tomcat] (comic children's op, 2, Mauerová, after J. Lada), 1981–2

Ballets: Komediantská pohádka [The Players' Fairy Tale], 1957–8; Vítr ve vlasech [Wind in the Hair], 1960–61; Poslední pampeliška [The Last Dandelion], 1963–4; Milá sedmi loupežníků [The Mistress of Seven Robbers], 1966

Orch: 17 listopad [17th November], sym. fresco, 1960; World's Conscience, sym. poem, 1961; Symfonie Májová [May Sym.], 1974; Olympijský oheň [Olympic Flame], sym. picture, 1975; Musica poetica, str, 1976; Osamělý mořeplavec [The Lone Sailor], sym. picture, 1978; Trbn Conc., trbn, str, 1985; Sym. no.2, 1986

Vocal: Poéma o padlých hrdinech [Poem of Fallen Heroes], A, orch, 1974; Krajinou mého dětství [Through the Country of my Childhood] (cant., N. Mauerová), SATB, orch, 1976

Chbr and solo inst: Organum pragense, org, 1969; Sonata drammatica, pf, 1972; Lovecká suita [Hunting Suite], 4 hn, 1973; 3 impromtu, fl, pf, 1974; Bukolická suita, 4 trbn, 1977; Dialog, ob, pf, 1977

Many film and TV scores, musicals, instructive pieces

Principal publishers: ČHF, Dilia, Eas, Panton, Su

BIBLIOGRAPHY

GroveO (H. Havlíková)

J. Ledeč: ‘Miloš Vacek’, Svaz českých skladatelů a koncertních umělců [Union of Czech Composers and Concert Artists] (Prague, 1975), 236–8

JAN LEDEČ

Vachon [Vasson, Waschon], Pierre

(b Avignon, 3 June 1738; d Berlin, 7 Oct 1803). French violinist and composer. The son of Ignace Joseph Vachon and Marie-Anne Villelme. According to Fétis, he came to Paris and studied the violin with Carlo Chiabrano who was living there in 1751. His public début was at the Concert Spirituel on 24 December 1756, at which he played one of his own concertos, and he had further success in twelve concerts in 1758. He was first violinist in the Prince of Conti's orchestra from at least November 1761, and performed in concerts at the royal court in Fontainebleau. With Jean-Claude Trial, another musician employed by the court, he composed two operas: Renaud d'Ast and Esope à Cythère during these years. As Bachaumont and Grimm have noted, however, he had little success with these and other dramatic compositions.

Vachon made journeys to London in 1772, 1774 and again in 1777, returning to Paris for short periods in between. He played at benefit concerts and oratorio performances on roughly 13 occasions between 27 April 1772 and 5 June 1777 (McVeigh), and conducted and performed as a soloist at concerts and recitals. On 27 April 1772 at a benefit concert at the Haymarket Theatre, for example, he played a duet with Duport, and a concerto. During 1774 he played five times at the Drury Lane Theatre in concertos during performances of oratorios by Handel, Smith and Stanley; in 1777 he probably played the viola in a chamber recital at the Tottenham Street Rooms, and the violin in a quartet with Cramer, Giardini and Crosdill at a benefit concert. According to the Almanach musical, he seems to have remained in England until 1778.

About 1784 he went to Germany as a musician in the Palatine court, and two years later he had become leader of the royal orchestra in Berlin, alongside Benda. He was praised by the composer for his playing in Dittersdorf's Singspiel Der Apotheker und Doktor in Charlottenburg in 1789. Vachon left his post there in 1798, with a pension which he continued to receive until his death.

As evidenced by Carmontelle's portrait and by a verse printed in the Mercure de France in 1758, Vachon was much admired by his contemporaries as a soloist and performer of chamber music. In 1780 La Borde described him as ‘one of the most charming violinists we have heard, above all in the trio and the quartet’ (iii, 488). As a composer he also distinguished himself in chamber music, publishing sonatas, trios and about 30 quartets in Paris and London. According to La Laurencie his virtuoso violin writing was inspired by Gaviniés, and his variety of bowing techniques by Tartini. While his divertimentos and duets op.5 were aimed at amateurs, his quartets opp.5, 6, 7 and 11 display a variety of tempos, numbers of movements and tonality, and give relative independence to each performer. Although Vachon's stage works tended to lack dramatic coherence and were not popular, he was one of the most original and productive composers of string quartets in 18th-century France, and his symphonies combine the style of the French school with Italian and Mannheim influences.

WORKS

operas

Renaud d'Ast (cmda, 2, P.-R. Lemonnier), Fontainebleau, 12 Oct 1765, Lib (Paris, 1765), collab. J.-C. Trial

Esope à Cythère (cmda, 1, L.J.H. Dancourt), Paris, Comédie-Italienne (Bourgogne), 15 Dec 1766, excerpts (Paris, n.d.), collab. Trial [according to Brenner, perf. Bordeaux, 1762]

Les femmes et le secret (cmda, 1, A.-F. Quétant), Paris, Comédie-Italienne (Bourgogne), 9 Nov 1767 (Paris, 1768)

Hippomène et Atalante (ballet-héroïque, P.-N. Brunet), Paris, Opéra, 8 Aug 1769

Sara, ou La fermière écossaise (cmda, 2, J.-B. Collet de Messine), Paris, Comédie-Italienne (Bourgogne), 8 May 1773 (Paris, 1774)

instrumental

Orch: 6 symphonies à 4 parties, hns ad lib, op.2 (Paris, 1761); Vn concs.: F, listed in Breitkopf catalogue (1778), D (n.d.), C, D-WR1; Conc., vn, vc, D, Bsb; Ov., E [first movt almost identical to first movt of E sym.], Bsb; Duetto, vn, vc, orch, G, Bsb

Str qts: 6 as op.5 (London, c1773–4), ed. P. Oboussier (Topsham, Devon, 1987); 6 as op.6 (London, c1777), ed. J. Brown (London, 1928); 6 as op.7, bk 2 (Paris, 1773), ed. P. Oboussier (Topsham, Devon, 1987); 5 quartettos (London, c1777); 6 quatuors concertants, op.11 (Paris, c1782–6); doubtful: 6 as op.6, bk 1 (Paris, c1773); 6 as op.9, bk 3 (Paris, c1774); lost: 3 quartettos (London, n.d.)

Other chbr: 6 sonates, vn, b, op.1 (Paris, c1760–61; London c1771–2), no.4, D, also pubd in J.-B. Cartier: Art du violon, no.26 (1798); 6 sonates, vn, b, op.3 (Paris, 1769); ?2 Divertimentos in 6 divertimentos (London, 1772); 6 trios, 2 vn, vc, op.5 (Paris, c1772); 6 trios, 2 vn, bc, op.4 (London, c1773–4); 6 Easy Duettos, 2 vn, op.5 (London, c1775)

BIBLIOGRAPHY

BrookB

BrookSF

Choron-FayolleD

DEMF

EitnerQ

FétisB

GerberNL

JohanssonFMP

LaLaurencieEF

PierreH

C.D. von Dittersdorf: Lebensbeschreibung (Leipzig, 1801; Eng. trans., 1896/R); ed. N. Miller (Munich, 1967)

J. Levy: The ‘Quatuor concertant’ in Paris in the Latter Half of the Eighteenth Century (diss., Stanford U., 1971)

S. McVeigh: The Violinist in London's Concert Life, 1750–1784: Felice Giardini and his Contemporaries (New York, 1989)

P. Oboussier: ‘The French String Quartet, 1770–1800’, Music and the French Revolution, ed. M. Boyd (Cambridge, 1992), 74–92

M. Garnier-Butel: Les quatuors à cordes publiés en France dans la seconde moitié du XVIIIe siècle (diss., University of Paris, 1992)

MICHELLE GARNIER-BUTEL

Vačkář, Dalibor C(yril)

(b Korčula, Croatia, 19 Sept 1906; d Prague, 21 Oct 1984). Czech composer and writer. His father Václav Vačkář (b Dobřejovice, 12 Aug 1881; d Prague, 4 Feb 1954) was a Czech conductor who had worked in Poland, Russia and Croatia before settling in Prague, where he played the violin and the trumpet in the Czech PO (1913–19), the Vinohrady Opera (1919–20), the Šak PO (1920–21) and in cinema bands (1923–30). He composed over 300 works, mostly popular and light pieces, and served as president of the Union Association of Musicians in Prague (1928, 1937) and in the Author’s Protection Society.

Dalibor Vačkář studied with Rudolf Reissig (violin) and Otakar Šín (composition) at the Prague Conservatory (1923–9), remaining there until 1931 in the master classes of Karel Hoffmann (violin) and Suk (composition). Subsequently he played the violin in the Prague RO (1934–45) and worked as a film scenario writer (1945–7). From 1948 he concentrated on composition while working as a journalist for Czech daily papers and music journals. He also wrote poetry, including many texts for his own songs, and had several plays produced at the National Theatre in Prague, among them Veronika, which served as the basis for Rafael Kubelík’s opera, and Chodská nevěsta (‘The Bride of Chodsko’), which he himself set. As a composer he worked in all genres. His inventive music developed from the tendencies of the interwar period (as in the urban song cycle Pouťové boudy, ‘Fairground booths’, the Smoking Sonata for piano and the neo-classical Trio giocoso) to the simplified melody and craftsmanship of the 1950s (as in the Symfonie míru, ‘Symphony of Peace’). In his orchestral works and film scores he showed a sophisticated understanding of instrumentation. For his light music he used the pseudonyms Pip Faltys, Peter Filip, Tomáš Martin and Karel Raymond; for his literary and dramatic work he used the pseudonym Dalibor C. Faltis.

His son Tomáš Vačkář (b Prague, 31 July 1945; d Prague, 2 May 1963) was a promising composer, mostly of orchestral music including a Concertato recitativo for flute and strings, Melancholické scherzo and Metamorfózy.

WORKS

(selective list)

Ballets: Švanda dudák [Švanda the Bagpiper] (J. Rey, after J.K. Tyl), 1950, Prague, 1954; Sen noci svatojanské [A Midsummer Night’s Dream] (Vačkář, after W. Shakespeare), 1955–7

Orch: Symfonietta, str, hn, timp, pf, 1947; Sym. no.2 ‘Země vyvolená’ [The Chosen Land] (F. Hrubín, J. Seifert, V. Dyk), A, chorus, orch, 1947; Sym. no.3 ‘Smoking Sym.’, 1947–8; Sym. no.4 ‘Symfonie míru’ [Sym. of Peace], 1949–50; Pf Conc. no.1, 1953; Vn Conc. no.2, 1958; Conc., bn, str, 1962; Conc., tpt, perc, kbds, 1963; In fide, spe et caritate, conc., org, perc, wind, vv, 1969; Milieu d’enfant, 5 perc groups, 1970; Sym. no.5 ‘Pro iuventute’, 1983; Extempore 84, 3 essays, 1983; Symfonietta no.2 ‘Jubilejní’, 1983

Chbr and solo inst: Scherzo and Moderato, op.6, cl, pf, 1931; Smoking Sonata, op.23, pf, 1936; Trio giocoso, op.9, pf trio, 1939; Qt, ob, cl, bn, pf, 1948; Preludium a proměny [Prelude and Metamorphoses], pf, 1956; Conc., str qt, 1960; Suita giocosa, vn, va, pf, 1960; Dialogy, va, 1961; 3 Studies, hpd, 1961; Pf cantante, pf, perc, db, 1968; Listy z deníku [Notes from a Diary], bn, pf, 1969; Symposium, wind qnt, 1976; 3 studie, hpd, 1977; Oboe concertante, ob, cl, b cl, hn, str qt, perc, pf, 1977; Monogramy, str qt, 1979; Monogramy, pf, 1979; Portréty [Portraits], pf, 1981; Portréty, wind qnt, 1982; Juniores, pf, 1982; Juniores, st qt, 1982; Extempore, pf qt, 1983

Song cycles: Pouťové boudy [Fairground Booths], op.16 (J. Rictus), 1933; Blýskání na časy [Sheet Lightning], op.17 (D.C. Vačkář), 1936; 3 milostné písně [3 Love Songs] (Apollinaire, Seifert, D.C. Vačkář), S, pf, 1958

Film scores: V horách duní [Rumbling in the Hills], Alena, Podobizna [The Portrait], O ševci Matoušovi [Matouš the Cobbler], Divá Bára, Vítězství [Victory], Past [The Trap], Pyšná princezna [The Proud Princess], Tajemství krve [The Secret of Blood], Roztržka [The Break], over 20 others

Principal publishers: Barvitius, Hudební Matice, Kudelík, Panton, Státní Nakladatelství Krásné Literatury, Hudby a Umění, Supraphon

WRITINGS

‘Sociální funkce umění’ [The social function of art], Rytmus, i (1935–6), 42

‘Habovy čtvrttóny’ [Hába’s quarter-tones], Tempo [Prague], xv (1935–6), 88–90, 125–6

‘Moderní clověk a moderní umění’ [Modern man and modern art], Hudební věstník, xxix (1936), 105–7

‘Narodní píseň a šlágr’ [Folksong and Lit song], Tempo [Prague], xvi (1937), 128–31

with V. Vačkář: Instrumentace symfonického orchestru a hudby dechové [Instrumentation for the symphony orchestra and wind music] (Prague, 1954)

BIBLIOGRAPHY

D.C. Vačkář: ‘Autor o sobě’ [The composer on himself], Rytmus, ix (1943–4), 91 [incl. list of works to op.30]

J. Kříž: ‘Nad klavírním odkazem Dalibora C. Vačkáře’ [On the piano legacy of Dalibor C. Vačkáře’], HRo, xxxviii (1985), 324–5

J. Havlík: Česká symfonie 1945–80 (Prague, 1989), 35, 72–3, 121–2, 337

OLDŘICH PUKL/R

Vacqueras, Bertrandus.

See Vaqueras, Bertrandus.

Vadé, Jean-Joseph

(b Ham, Picardy, 17 Jan 1719; d Paris, 4 July 1757). French poet, dramatist and composer. He was the son of a merchant and moved to Paris with his parents at the age of five. Despite a deficient education, he became contrôleur du vingtième (a tax-collecting appointment) at Soissons in 1739, and moved to similar posts at Laon and Rouen before returning to Paris in 1743 as secretary to the Duke of Agenois. In 1745 he was employed in the bureau du vingtième in Paris. His lively output of verse and prose brought him into literary circles, and he became friendly with Collé and Fréron; the latter friendship earned him the enmity of Voltaire, who nevertheless admired his work. After an unsuccessful début at the Comédie-Française in 1749 (his play Les visites du jour de l’an had only one performance), Vadé turned to the Opéra-Comique at the invitation of the new director, Jean Monnet. The huge success of La fileuse (1752), his first opéra comique, helped to put the newly reopened theatre on a sound financial basis, and most of his subsequent works staged there were equally well received. In 1751 he was granted a pension of 400 livres by Louis XV, whom he had earlier dubbed ‘le Bien-Aimé’. But his dissipated way of life affected his health, and he died aged 38 after a painful operation. His illegitimate daughter, known as Mlle Vadé, enjoyed brief fame in the late 1770s as an actress at the Comédie-Française.

Although Vadé’s prolific output includes serious fables and epistles and a quantity of epigrams, bouquets and other light poetry, he is best remembered for the creation of the genre poissard, or ‘fish-market style’, which he used in many of his chansons and opéras comiques. This style developed from a close study of the behaviour and language of Parisian market folk, giving his writing a new realism and earthy humour which made it immensely popular at all levels of society until long after his death. The burlesque poem La pipe cassée was particularly admired. It was the spontaneity and liveliness of his early work for the Théâtre de la Foire that caused him to be chosen as librettist for Les troqueurs (1753), produced at the height of the Querelle des Bouffons and modelled on opera buffa. The combination of Vadé's simple plot and lifelike peasant characters with Dauvergne's italianate music was particularly successful, and did much to establish the style of opéra comique in which newly composed music replaced the traditional vaudevilles.

Vadé's remaining opéras comiques, prominent among which were the still-popular parodies of contemporary Opéra productions, are all of the earlier type which enjoyed a final flowering in the 1750s. Although most of the music for these consists of standard vaudeville melodies, Vadé composed some of the airs himself (exactly how many is difficult to establish, for many of the ‘airs de M. Vadé’ included in editions of the plays are in fact well-known tunes). They are written in a simple but attractive style, strongly influenced by the Italian music of the Bouffons. Only the melodic lines survive. As well as those included in editions of the librettos, others were printed in the Recueil noté de chansons de M. Vadé (Paris, 1758) and in the various editions of Oeuvres de M. Vadé (Paris, 1755, enlarged 2/1758; The Hague, 1759).

WORKS

first performed in Paris

CF

Comédie-Française

PSG

Foire St Germain

PSL

Foire St Laurent

opéras comiques

La fileuse, PSG, 8 March 1752, parody of Destouches: Omphale; Le poirier, PSL, 7 Aug 1752; Le bouquet du roi, PSL, 24 Aug 1752, collab. J. Fleury and Lattaignant; Le suffisant, ou Le petit maître dupé, PSG, 12 March 1753; Le rien, PSG, 10 April 1753, parody of parodies of Mondonville: Titon et l’Aurore; Le trompeur trompé, ou La rencontre imprévue, PSG, 18 Feb 1754; Il était temps, PSG, 28 June 1754, parody of Ixion (entrée) from Destouches and Lalande: Les éléments; La fontaine de jouvence (ballet), PSL, 17 Sept 1754, collab. Noverre; La nouvelle Bastienne, PSL, 17 Sept 1754, collab. L. Anseaume; Compliment de clôture, PSL, 6 Oct 1754; Les Troyennes en Champagne, PSG, 1 Feb 1755, parody of Chateaubrun: Les Troyennes

Jérôme et Fanchonette, ou La pastorale de la grenouillère, PSG, 18 Feb 1755, parody of Mondonville: Daphnis et Alcimadure; Compliment de clôture, PSG, 6 April 1755; Le confident heureux, PSL, 31 July 1755; Folette, ou L’enfant gâté, PSL, 6 Sept 1755, parody of Destouches: Le carnaval et la folie; Compliment de la clôture, PSL, 6 Oct 1755; Nicaise (comédie poissarde), PSG, 7 Feb 1756, parody of Destouches: Le carnaval et la folie; Les raccoleurs, PSG, 11 March 1756; Compliment de clôture, PSG, 6 April 1756; Compliment pour la clôture de l’Opéra-Comique, PSL, 6 Oct 1756; L’impromptu du coeur, PSG, 8 Feb 1757; Compliment pour la clôture de l’Opéra-Comique, PSG, 3 April 1757; Le mauvais plaisant, ou Le drôle de corps, PSL, 17 Aug 1757; La folle raisonnable, not perf.

librettos

Le paquet de mouchoirs (monologue) (1750), also attrib. Duke of Valentinois

Les troqueurs (opéra bouffon), music by A. Dauvergne, PSL, 30 July 1753

La veuve indécise (oc), music by E.R. Duni, PSL, 24 Sept 1759

BIBLIOGRAPHY

J.A.J. Desboulmiers: Histoire du Théâtre de l'Opéra-Comique, ii (Paris, 1769), 33, 54–5, 70, 78, 224, 260, 333, 364ff, 408, 546

J. Monnet: Supplément au roman comique, ou Mémoires pour servir à la vie de Jean Monnet, ii (London, 1772), 57, 61ff, 74ff

G. Lecocq: ‘Notice sur la vie … de Vadé’, Poésies et lettres facétieuses de Joseph Vadé (Paris, 1879), pp.i–xxxvi

L. de La Laurencie: ‘Deux imitateurs français des bouffons: Blavet et Dauvergne’, Année musicale, ii (1912), 65–125

F.J. Carmody: Le répertoire de l'opéra-comique en vaudevilles de 1708 à 1764 (Berkeley, 1933)

A.P. Moore: The ‘genre poissard’ and the French Stage in the 18th Century (New York, 1935)

C.D. Brenner: A Bibliographical List of Plays in the French Language 1700–1789 (Berkeley, 1947, 2/1979)

H. Lagrave, ed.: René Louis de Voyer de Paulmy, marquis d’Argenson: notices sur les Oeuvres de théâtre (Geneva, 1966)

GRAHAM SADLER

Vado [Bado] y Gómez, Juan del

(b Madrid, after 1625; d Madrid, 22 Feb 1691). Spanish composer, keyboard player and violinist. He came from a family of musicians (including his maternal uncle, the composer Diego Gómez de la Cruz) in the service of the Spanish royal household, and trained as a violinist in one of Madrid's several dancing schools. He occasionally took part in palace festivities until, on 19 August 1650, he took up the post of violinist in the royal household, which had been held by his father. He studied the harpischord and organ, probably with his uncle Alvaro Gómez de la Cruz and Francisco Clavijo, organist of the royal chapel, and took up a provisional post as keyboard player in the royal chapel on 1 January 1651 which was made permanent on 25 September 1654. There is evidence that as part of his duties he played the organ, string instruments and, at least in 1662, the harp. By 1666 he had composed several masses for the royal chapel, and in November 1667 the widowed Queen Mariana of Austria appointed him chamber musician, without a salary. Shortly before July 1674 he was appointed keyboard teacher to the young Carlos II, but after three years he had to give up all his duties because of a stroke, and thereafter he devoted his time to composing. According to L. Ruiz de Ribayaz (Luz y norte musical, Madrid, 1677) he intended to print a collection of works for harp, some of which are in the Biblioteca Nacional, Madrid (M.2478). Between 1677 and 1679 he presented Juan José of Austria, first minister of Carlos II, with a book of six masses and eight enigmatic canons (E-Mn M.1323). By 1685 he had composed another 15 masses, and in that year, after the death of Juan Hidalgo, he began composing tonos humanos for the court theatre on a regular basis, at least until 1688. His will mentioned 20 masses, two Lamentations and 96 sacred works in Spanish, as well as music for six plays performed at the Buen Retiro palace in Madrid.

Vado's works, both sacred and secular, show great skill in the treatment of imitative counterpoint, and also take certain liberties with the rules. For this he was highly spoken of in the following century by writers such as I. Serrada (Parecer, Barcelona, 1716), Francisco Valls (Mapa harmónico, MS, 1742), and J.F. de Sayas (Música canónica, motética y sagrada, Pamplona, 1761). José de Torres (Reglas generales de acompañar, Madrid, 1702) stated that Vado wrote a treatise on figured bass, but this does not survive.

WORKS

6 masses, 5, 6vv, org, E-Mn; 21 masses, 5, 6, 8vv, bc, Ac (some inc.)

2 villancicos, 4vv, bc, GU, V; villancico, 8vv, 1688, harp, vc, org, Mn; villancico, 11vv, bc, SA

13 sacred tonos, 1–4vv, bc, Bc, BUa, E, SE, V, VAcp; 1 ed. J.H. Baron, Spanish Art Song in the Seventeenth Century (Madison, WI, 1985)

18 secular tonos, 1, 2, 4vv, bc, D-Mbs, E-Bc, BUa, Mn, SE, I-Vnm, US-NYhsa; 1 ed. J. Bal y Gay, Treinta canciones de Lope de Vega (Madrid, 1935); 1 ed. J.M. Romá, Cinco siglos de canciones españolas (1300–1800) (Madrid, 1963); 1 ed. in MME, xlvii (1988); 1 ed. M. Querol, Cancionero musical de Lope de Vega, iii (Barcelona, 1991)

8 enigmatic canons, 2–12vv, E-Mn

4 pieces, org, P-Pm; other pieces, org, J. Rivera's private collection, Barcelona

Miscellaneous pieces, harp, E-Mn

BIBLIOGRAPHY

LaborD

A. Martín Moreno: El padre Feijoo y las ideologías mvsicales del XVIII en España (Orense, 1976), 139, 152, 199–200

L. Robledo: ‘Los cánones enigmáticos de Juan de Vado (¿Madrid?, ca. 1625–Madrid, 1691): noticias sobre su vida’, RdMc, iii (1980), 129–96

J. López-Calo: Historia de la música española, iii: Siglo XVII (Madrid, 1983)

E. Casares, ed.: Francisco Asenjo Barbieri: Biografías y documentos sobre música y músicos españoles, Legado Barbieri, i (Madrid, 1986), 483; Documentos sobre música española y epistolario, Legado Barbieri, ii (Madrid, 1988), 98, 109

L. Robledo: ‘The Enigmatic Canons of Juan del Vado (c.1625–1691)’, EMc, xv (1987), 514–19

L. Jambou: ‘Documentos relativos a los músicos de la segunda mitad del siglo XVII de las capillas reales y villa y corte de Madrid, sacados de su Archivo de protocolos’, RdMc, xii (1989), 509–12

L. Stein: Songs of Mortals, Dialogues of the Gods: Music and Theatre in Seventeenth-Century Spain (Oxford, 1993)

LUIS ROBLEDO

Vaduva, Leontina

(b Roşiile, 1 Dec 1960). Romanian soprano. She studied at the Bucharest Conservatory and with Ileana Cotrubas, making her début as Manon in Massenet’s opera at Toulouse in 1987. For her performances in the same opera at Covent Garden the following year she won the Laurence Olivier Opera Award, and was re-engaged to sing Gilda, Micaëla, Antonia, Gounod’s Juliet and Mimì. She has appeared in Buenos Aires, Barcelona, Cologne, Vienna and most leading French houses. Vaduva’s voice was found light for the Opéra Bastille in Paris, although the delicacy of her style and the natural charm of her stage presence did much to compensate. At Covent Garden her Mimì was deeply touching and her Juliet matched the Romeo of Roberto Alagna in highly praised performances of Gounod’s opera in 1994. These are roles she has also recorded, a less pure tone obtruding in some of the louder passages, but with much beauty elsewhere and an appealing warmth of expression throughout.

J.B. STEANE

Vaet, Jacobus

(b Kortrijk or Harelbeke, c1529; d Vienna, 8 Jan 1567). Flemish composer. The year of his birth is deduced from a document dated 1543 which gives his age as 13 and records his acceptance as a choirboy at Onze Lieve Vrouwkerk in Kortrijk. Although the church records state that he came from Kortrijk, in the matriculation registers of the University of Leuven his name appears as ‘Jacobus Vat de Arelbecke’. When his voice changed in 1546 the church gave him a scholarship, and he entered the university on 29 August 1547. His name appears in a roll of benefices given to members of the chapel of Emperor Charles V in 1550; according to it he was a tenor, and already married. By 1 January 1554 he had become Kapellmeister to Charles’s nephew, Archduke Maximilian of Austria (later Emperor Maximilian II), a position that he held until he died. His relationship with Maximilian was evidently a close one, and his broadside motet Qui operatus est Petro, presented to Maximilian in 1560, contains a clandestine message of understanding for his patron’s suppressed Protestant inclinations. The Habsburg court records show that Maximilian was generous to Vaet, whose death he noted in his diary. Vaet was mourned in numerous elegies, one of which, Defunctum charites Vaetem, was set by his pupil Jacob Regnart, and other composers including Jacob Handl, Antonius Galli and Johannes de Cleve expressed their esteem by writing parody works based on his motets. He was praised by the theorists Finck, Zacconi and Cerone.

Of Vaet’s extant works the motets, of which 17 are settings of secular texts, were most widely known in his lifetime. Vaet made much use of previously composed material, both his own and that of others. Parody or quoted polyphony is found in all his masses (even the Missa pro defunctis) and in numerous motets. A striking example of multiple parody involves three of his own compositions, the motet Vitam quae faciunt beatiorum and the masses on Vitam quae faciunt beatiorum and Tityre, tu patulae; the motet parodies Lassus’s motet Tityre, tu patulae, and each of the masses parodies both motets. He also borrowed material, both melodic lines and polyphony, from Josquin, Mouton, Barbion, Jacquet of Mantua, Christian Hollander, Clemens non Papa and Rore, and Zacconi drew particular attention to his practice, found in the hymns and Magnificat settings, of repeating in triple metre a section previously stated in duple metre. Vaet seems to have been the first to write a Missa quodlibetica and his example was followed by Regnart, Losio and Luython among others.

Although Vaet generally used the style of pervading imitation deriving from Gombert, he also used chordal and polychoral textures. He placed much emphasis on dominant–tonic relationships and was fond of vertical progressions based on the circle of 5ths. He treated dissonance boldly, even on occasion using the augmented 6th and octave, though always in a context of smooth part-writing. He was fond of false relations and various forms of nota cambiata, including the archaic three-note figure followed by a rest. Vaet’s style represents the intermediate stage between Josquin and Lassus. His debt to the former is apparent in his borrowing, not only musical material, but also techniques such as soggetto cavato, ostinato, cantus firmus and incipient parody. From Gombert he inherited a penchant for flowing polyphony unimpeded by expressive detail. His admiration and friendship for Clemens non Papa was expressed by the elegy he wrote on his death (Continuo lachrimas) and by extensive borrowings from his work. His music is less modal than Clemens’s, thicker in texture and more concise in presenting the words. Vaet was well acquainted with Lassus, and the works they wrote at the same period are in many ways similar. Lassus’s Missa ‘Si me tenez’ is variously ascribed to both composers in 16th-century sources.

WORKS

Editions: J. Vaet: Sämtliche Werke, ed. M. Steinhardt, DTÖ, xcviii (1961), c (1962), ciii–civ (1963), cviii–cix (1964), cxiii–cxiv (1965), cxvi (1967), cxviii (1968), cxlv (1988; incl. index to complete works) [S]

all edited in DTÖ; other editions listed

masses

Missa ‘Confitemini’, 4vv, D-Rp (on Mouton’s motet), S cviii–cix

Missa ‘Dissimulare’, 6vv, A-Wn, D-Mbs (on Rore’s motet Dissimulare etiam sperasti); S cviii–cix

Missa ‘Ego flos campi’, 6vv, A-Wn, D-AN, Bsb, F-Pc, PL-WRu (on Clemens non Papa’s motet); S cviii–cix

Missa ‘J’ai mis mon coeur’, 8vv, A-Wn, F-Pc (on Vaet’s Salve regina, 15641); S cxiii–cxiv

Missa ‘Miser qui amat’, 8vv, B-Bc, CZ-K (on Vaet’s motet); S cxiii–cxiv

Missa pro defunctis, 5vv, A-R, Wn, D-Bsb; S cviii–cix

Missa quodlibetica, 5vv, A-Gu, D-Nla, YU-Lu; S cviii–cix

Missa ‘Tityre, tu patulae’, 6vv, A-Wn, CZ-K, D-As, AN, Dlb, Rp, F-Pc, H-Bn, Pl-WRu (on Lassus’s motet and Vaet’s motet Vitam quae faciunt); S cxiii–cxiv

Missa ‘Vitam quae faciunt beatiorum’, 6vv, PL-WRu (on Vaet’s motet and Lassus’s Tityre, tu patulae); S cxiii–cxiv

motets

some motets ed. S

Modulationes, liber I, 5vv (Venice, 1562)

Modulationes, liber II, 5, 6vv (Venice, 1562); 1 ed. in Cw, ii (1929/R)

Qui operatus est Petro, 6vv (Vienna, 1560)

Motets in 15539; 155310, 2 ed. in Cw, ii (1929/R); 155316, 1 ed. in Cw, ii (1929/R); 15548; 15584; 15641; 15643; 15644; 15645; 15672; 15682; 15683, 1 ed. in Cw, ii (1929/R), 1 ed. in MAM, xii (1960); 15684; 15685; 15686, ed. in CMM, lxiv (1974); 15688

Motets in B-Br; D-Mbs; D-Tu, ed. in Cw, ii (1929/R)

2 motets: Egressus Jesus, Transeunte Domino, attrib. Vaet by F. Commer, Collectio operum musicorum batavorum, ii, iv (Berlin, 1844–58), actually by Wert

other sacred

8 Magnificat (1 in each tone), D-Mbs, Rp; S cxvi

8 Salve regina: 4vv (2 settings), 15685; 5vv (2 settings), 15685; 6vv (2 settings), 15685; 8vv (2 settings), 15641; all in S cxvi

8 hymns, 5, 6vv, 15672, A-Gu; 2 ed. in MAM, viii (1958)

Vater unser in Himmelreich, inc., D-Dlb; S cxviii

Hymnus S Michaelis archangeli (frag.), in L. Zacconi: Prattica di musica (Venice, 1596)

chansons

Amour leal, 4vv, 155617; S cxviii

Sans vous ne puis, 4vv, 155810; S cxviii

En l’ombre d’ung buissonet, 4vv, 15688; S cxviii

BIBLIOGRAPHY

Vander StraetenMPB

A. Smijers: ‘Die kaiserliche Hofmusik-Kapelle von 1543–1619’, SMw, vi (1919), 139–86; vii (1920), 102–42; viii (1921), 176–206; ix (1922), 43–81

H. Jancik: Die Messen des Jacobus Vaet (diss., U. of Vienna, 1929)

J. Schmidt-Görg: ‘Die Acta Capitularia der Notre-Dame-Kirche zu Kortrijk als musikgeschichtliche Quelle’, Vlaam jb voor muziekgeschiedenis, i (1939), 21–80

H. Federhofer: ‘Etats de la chapelle musicale de Charles-Quint (1528) et de Maximilien (1554)’, RBM, iv (1950), 176–83

M. Steinhardt: Jacobus Vaet and his Motets (East Lansing, MI, 1951) [with bibliography and thematic index]

M. Steinhardt: ‘The Hymns of Jacobus Vaet’, JAMS, ix (1956), 245–6

A. Schillings, ed.: Matricule de l’Université de Louvain, iv (Brussels, 1961)

M. Steinhardt: ‘Addenda to the Biography of Jacobus Vaet’, The Commonwealth of Music, in Honor of Curt Sachs, ed. G. Reese and R. Brandel (New York, 1965), 229–35

M. Steinhardt: ‘The Missa Si me tenes: a Problem of Authorship’, Aspects of Medieval and Renaissance Music: a Birthday Offering to Gustave Reese, ed. J. LaRue and others (New York, 1966/R), 756–67

M. Steinhardt: ‘The ‘Notes de Pinchart’ and the Flemish Chapel of Charles V’, Renaissance-muziek 1400–1600: donum natalicium René Bernard Lenaerts, ed. J. Robijns and others (Leuven, 1969), 285–92

W. Kirsch: ‘“Musica Dei donum optimi”: zu einigen weltlichen Motetten des 16. Jahrhunderts’, Helmuth Osthoff zu seinem siebzigsten Geburtstag, ed. W. Stauder, V. Aarburg and P. Cahn (Tutzing, 1969), 105–28

W. Pass: ‘Jacob Vaets und Georg Prenners Vertonungen des “Salve regina” in Joanellus’ Sammelwerk von 1568’, De ratione in musica: Festschrift Erich Schenk, ed. T. Antonicek, R. Flotzinger and O. Wessely (Kassel, 1975), 29–49

M. Steinhardt: ‘A Musical Offering to Emperor Maximilian II: a Political and Religious Document of the Renaissance’, SMw, xxviii (1977), 19–28

MILTON STEINHARDT

Vagans

(Lat.: ‘wanderer’, ‘vagrant [part]’).

In 15th- and 16th-century polyphony, the fifth part, which might be of treble, alto, tenor or bass range, but usually the tenor. In the conventional four-range hierarchy it necessarily duplicated the range of one of the other voices either partly or wholly. The fifth partbook of a set (the quintus, rarely vagans, book) might contain pieces requiring a voice in any of the four conventional ranges, so that from one piece to the next the book might ‘wander’ from one singer to another.

Vagantes.

See Goliards.

Vaggione, Horacio

(b Córdoba, 21 Jan 1943). Argentine composer. From 1958 to 1963 he studied composition at the National University of Córdoba with Carlos Gasparini, Olger Bistevins, Juan Carlos Fernández, Ornella Devoto and César Franchisena. In 1961 he began composing his first instrumental works (Interpolations, for ensemble, and a piano sonata) and his first electro-acoustic works (Ceremonia and Hierro y espacio, 1962). From 1965 to 1968 he ran the electro-acoustic music studio of Córdoba University, and in 1966 took part in Lejaren Hiller's course on computer-aided composition at the University of Illinois. During this time he concentrated his research on the interaction between instrumental and electronic music, in works such as Untitled, a multimedia composition involving four instrumental groups, electronic transformations, movement and lights (1965), Sonata 2, Sonata 3 and Sonata 4 for piano and tape, and Tierra-Tierra, an electro-acoustic work (1966–7). He was guest composer and researcher at Madrid University (1969–73), where he was one of the founders of the Spanish live electronic music group Alea Música Electrónica Libre, and created several live electronic and computer compositions, including Interfase (1969), Modelos de universo II (1970) and La máquina de Cantar (1971–2). He taught at Mills College, California (1975–6), where Triage for 20 tapes and live