Page:A Dictionary of Music and Musicians vol 4.djvu/277

Rh are distinct from the chapter as regards property, but in subjection to it as to the performance of the services. Formerly the members of these ecclesiastical colleges lived in common in collegiate buildings, some of which (as at Hereford, Wells, and York) still exist. The 42nd Canon orders that the Vicars Choral shall 'be urged to the study of the Holy Scriptures, and every one of them to have the New Testament, not only in English, but also in Latin.' The name is entirely confined to the Anglican church; in Catholic cathedrals the corresponding duties to those of the Vicars Choral are performed by various functionaries. (Jebb on Choral Service; Hook's Church Dictionary, etc.)[ W. B. S. ]

VICENTINO,, was born at Vicenza in 1511 or 1512. If we are to believe the title he gives himself in his first publication, as 'unico discepolo' to Adrian Willaert, he had his musical education at Venice; but as the 'unico' is plainly false, we may perhaps question the 'discepolo.' He became ordained, entered the service of Ipolito of Este, cardinal of Ferrara, and accompanied him to Rome, where he lived, it seems, for many years. In 1546 he published a volume of madrigals, with explanatory directions, written with the design of restoring the old scales of the Greeks. He then invented a peculiar instrument, the 'archicembalo,' with several keyboards, in order to illustrate his system, and employed a private choir to practise it. He published also a theoretical work entitled 'L'antica Musica ridotta alla moderna prattica' (Rome 1555). His efforts were however rewarded with scant success, and he experienced much opposition. One contest into which he was led in defence of his theory, and in which he was defeated—that, namely, with Lusitano—is famous. The cardinal, his patron, is said to have looked on Vicentino's discomfiture as a personal affront; he took him back to Ferrara, and appointed him chapel-master in his court. This post he appears to have held until his death. If we may judge by a medal struck in his honour, which describes him as 'perfectæ musicæ divisionisque inventor,' he must have enjoyed a certain amount of fame; but there is a story that the medal was his own device. His real eminence was that of a performer on the clavichord, and it is difficult to quarrel with the criticism of J. B. Doni and Apostolo Zeno, who ridiculed him for pretending to be anything more than a performer. At best his theories belong only to a passing phase in the history of music. [ R. L. P. ]

VICTORINE. An opera in 3 acts; words translated from the French by E. Falconer, the music by Alfred Mellon. Produced at the English Opera, Covent Garden, Dec. 19, 1859. [ G. ]

VIDAL, a name borne in the past and present by several French musicians and writers on music. The earliest, B. Vidal, whose initial only is known, died in Paris in 1800. He was a talented guitar-player and teacher during the last quarter of the 18th century, and published sonatas, short pieces, and a method for his instrument.

, born at Soreze, 1789, a clever violinist formed in Kreutzer's school, took the second Grand Prix for composition in 1809, was for 20 years in Baillot's quartet-party, conducted the orchestra of the Théâtre Italien from 1829 to 1832, played first violin in Louis Philippe's band, and was a valued teacher. He died in Paris, June 4, 1867.

, born at Rouen July 10, 1820, an amateur cello-player, a friend of Vuillaume, the musical instrument maker, and an accomplished linguist, has lately made some mark as a writer on music by his beautiful work on bowed instruments, 'Les Instruments à archet,' in three 4to. volumes, with etchings by Hillemacher. Vol. i. (1876) treats of musical instrument making and makers; vol. ii. (1877) of players, especially the virtuosi of the bow; and vol. iii. (1878) of music-printing, with biographies of chamber-musicians, and a catalogue of works for instruments played with the bow. M. Vidal has been for the last few years occupied with preparations for a similar history of pianoforte-making.

, Provençal poet, born at Aix, July 14, 1832, is the author of 'Lou Tambourin,' an interesting work on the Tambourine of Provence, and the Galoubet, or pipe. It is in the Provençal dialect, with a French translation.

, born at Toulouse, June 16, 1863, passed brilliantly through the Paris Conservatoire, and took successively the first Harmony prize in 1879, the first prize for Fugue in 1881, and the Grand Prix de Rome in 1883. A talented pianist, an excellent reader and accompanyist, Paul Vidal's technical knowledge seems already complete, and his cantata 'Le Gladiateur' is instrumented in masterly style. We hope great things from this young composer. [ G. C. ]

VIELLE, originally the name of the large primitive violin used by the French Troubadours in the 13th century. [See, p. 274b.] It was next applied to the Hurdy-gurdy, an instrument which is contemporaneous with the Troubadour's fiddle, being in fact in its original form simply the latter instrument adapted for playing with a wheel and handle, the intonation being regulated by a clavier on the fingerboard. Early in the last century the modern vielle or hurdy-gurdy was cultivated as a musical instrument of high class, ranking nearly with the lute and bass viol, and many of the French Vielles of that period are beautiful artistic productions. The instrument is not altogether extinct in our own time; the writer remembers a performer who visited Vichy in 1870, describing himself as 'Vielliste de sa Majesté l'Empereur,' who executed some difficult music, chiefly operatic airs and fantasias, on his singular instrument, with