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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