Page:A Dictionary of Music and Musicians vol 4.djvu/229

VAISSEAU-FANTOME. German of Richard Wagner, music by Dietsch. Produced at the Grand Opera, Paris, Nov. 9, 1842. [ G. ]

VALENTINI,, a great contrapuntist, scholar of G. M. Nanini; died at Rome 1654. Various books of canons, madrigals, canzonets, etc., by him, were published before and after his death, of which a list is given by Fétis. His canons were his greatest achievement, and two of them are likely to be referred to for many years to come. The first, on a line from the Salve Regina, is given by Kircher (Musurgia, i. 402), and was selected by Marpurg, more than a century later (1763), as the theme of seven of his Critical Letters on music, occupying 50 quarto pages (ii. 89). He speaks of the subject of the canon with enthusiasm, as one of the most remarkable he had ever known for containing in itself all the possible modifications necessary for its almost infinite treatment—for the same qualities in fact which distinguish the subject of Bach's 'Art of Fugue' and the 'Et vitam venturi' of Cherubim's great 'Credo.'

The first subject is:—

which gives direct rise to three others; viz.—

Each of these fits to each or all of the others in plain counterpoint, and each may be treated in imitation in every interval above and below, and at all distances, and may be augmented or diminished, and this for 2, 3, 4, 5 or 6 voices. Kircher computes that it may be sung more than 3000 different ways.

The second canon—'Nel nodo di Salomo (like a Solomon's knot) a 96 voci'—consists of the common chord of G,

and may be varied almost ad infinitum, with insufferable monotony it must be allowed. (See also Burney, Hist. iii. 522.) [ G. ]

VALENTINI, URBANI, usually called; a celebrated evirato, who came to London, Dec. 6, 1707, very early in the history of Italian opera in England. Nothing is known of his birth or early career; but he seems to have arrived here, possessed of a contralto voice of small power, which fell afterwards to a high tenor, and with an opera, 'Il Trionfo d'Amore,' in his pocket. The translation of this piece he entrusted to Motteux; and he subsequently sold to Vanbrugh, for a considerable sum, the right of representation. The Baroness, Margherita de l'Epine, Mrs. Tofts, and Leveridge, sang with him in this opera ('Love's Triumph'), and, if the printed score may be trusted, they all, including Valentini, sang English words. The piece was produced at the end of February, 1708, and he took a benefit in it on March 17. Meanwhile, he had already sung (Dec. 1707) as Orontes, a 'contra-tenor,' in 'Thomyris,' Hughes understudying the part. Valentini's dress in this piece cost £25 17s. 3d., a very large sum in those days; his turban and feathers cost £3 10s., and his buskins 12 shillings. We find him (Dec. 31, 1707) joining with the 'Seigniora Margaritta [de l'Epine], Mrs. Tofts, Heidegger, and the chief members of the orchestra, in a complaint against the dishonesty and tyranny of Rich. They claimed various amounts, due for salaries, 'cloaths,' etc. Valentini's pay was fixed at £7 10s. a night, as large a sum as any singer then received; but he seems to have had difficulty in extracting payment of it from Vanbrugh.

There, is extant a curious letter, in which M. de l'Epine appeals to the Vice-Chamberlain (Coke) for juste reuange for the impertinance* of which cette creature [Valentini] had been guilty, in preventing her from singing one of her songs, a few days before; and declares that she would never suffer ce monster, ennemi des hom̃es des fam̃es et de Dieu,' to sing one of her songs without her singing one of his! The letter is simply endorsed by the Vice- Chamberlain, 'Mrs. Margarita about Mr. Valentin.'

Valentini sang, with Nicolini, in 'Pyrrhus and Demetrius,' a part which he resumed in 1709. Nicolini and he sang their music to the Italian words, while the rest of the company sang in English, as was not unusual in the gallimaufries of the time. Valentini reappeared (1710) in 'Almahide,' and (1711) in the original cast of 'Rinaldo,' as Eustazio, a tenor. In 1712 he sang another tenor part, that of Silvio in 'Pastor Fido'; and in the following year another, Egeo in 'Teseo,' as well as that of Ricimer in 'Ernelinda.' In that season (1713) he again joined in a petition, with Pepusch and his wife, la Galeratti, and other artists, for the better regulation of their benefits. Then, as in modern times, operatic affairs were too frequently