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316 4-part 'Quarti toni,' the 5-part 'Trahe me post te,' the 6-part 'Vide Speciosam' are given by Proske, as also the two Antiphons. These Masses are on a smaller scale, and far less elaborate in technique than the more celebrated of Palestrina's. A good example for the comparison of technique is afforded by the 6-part 'Vidi Speciosam' of Vittoria and the 'Tu es Petrus' of Palestrina, the opening subjects of both, found also in the other movements, being so similar. Of Vittoria's Masses generally we may simply repeat the judgment of Proske—work and prayer, genius and humility are blended in them to perfect harmony.

The date of Vittoria's death is uncertain. He held his post in the Royal Chapel until 1602, when he was succeeded by Bernard Clavijo, a celebrated organist. He can scarcely have died in that year, since he wrote funeral music for the Empress Maria, who died in 1603. The title of this his last important work is:—'Officium Defunctorum sex vocibus, in obitu et obsequiis Sacræ Imperatricis,' Madrid 1605. It was dedicated to the Princess Margaret, daughter of the Empress, and consists of a 6-part 'Missa pro defunctis,' a 6-part 'Versa est in luctum,' a 6-part Responsorium, 'Libera,' and a 4-part Lectio 'Tædet anima.' This work is universally described as the crown of all the works of the master, 'the greatest triumph of his genius.' [See further,, vol. iii. p. 109b.] Though all the movements are based on the liturgical Canto Fermo, the music has a surprisingly modern character, its effect depending more on the succession of powerful and expressive harmonies than on the mere melodious movement of the parts. Technically considered, it is a marvellous blending of old independent movement of parts, with modern dissonances and progressions. Spiritually considered, it is a wonderful expression of poignant personal sorrow, chastened by religious contemplation and devotion. It is the spirit of devout mourning, holy fear, religious awe before the Divine Judge, which here comes to expression. There is no attempt to depict realistically the outward terrors of the last day, as in some modern Requiems. In Vittoria's work it is simply the individual soul realising its dependence on the Divine mercy. We may suppose him to have composed it in something of the same spirit in which the Emperor Charles V. in his cloister, assisted at his own obsequies. From this profound religious realism may have come the unusual animation of style specially noticeable in the Offertorium, the Cum Sanctis, and the Trio of the Libera, 'Tremens factus sum'—the animation of the deepest religious earnestness; and it is perhaps characteristic of the difference between Palestrina and Vittoria, that in the one case it was the composition of the Song of Songs, in the other of the Requiem, which called forth a similar change of style in the two composers. Ambros says this sublime funeral music vindicates for Vittoria the nearest place to Palestrina, but the effect of this judgment is somewhat neutralised by his afterwards bracketing him with Anerio and Soriano, as all much on the same level below Palestrina. It is a mistake perhaps to arrange composers simply up and down, in a straight line as it were, of merit. Some composers, who come short of the universality of spirit of the very greatest composers, may yet have some conspicuous points of superiority of their own, may contribute some new elements to the spiritual side of art, if not to the technical, which warrant their being classed with the greatest. If Palestrina is superior to Vittoria, as Beethoven is to Schubert, yet as Schubert has many points of excellence which form a fitting complement to those of Beethoven, so Vittoria has certain points of excellence more characteristic and more valuable than those of Anerio and Soriano, which mark him out as the fitting complement to Palestrina. If Vittoria has not the science, the variety, the boldness, the perfect originality of Palestrina, yet in him depth of feeling comes to more direct and immediate expression. In Palestrina there may be said to be the perfect equilibrium of art and religious feeling an equilibrium outwardly manifested in the natural flow of his melody, the pure diatonic character of his harmony, and the consummate art of his part-writing all conveying the impression of passionless purity. In Vittoria this equilibrium is slightly disturbed in favour of religious feeling; as if in the Spaniard, feeling must manifest itself, even when it sacrifices itself to art and to religion. The result is an impression of tender earnestness, so that if, as Ambros says, the strains of Palestrina are messengers from a higher and eternal world, the like strains of Vittoria are rather the responsive utterances of saintly souls on earth.[ J. R. M. ]

VIVACE (VIVO, VIVACISSIMO), 'Lively, in the liveliest manner possible.' A direction used either alone, and indicating a rate of speed between Allegro and Presto, or as qualifying some other direction, as Allegro or Allegretto. Allegro vivace will be taken quicker than Allegro by itself, but not so quick as Allegro assai. [See .] It occurs constantly in Beethoven's works in every class, and the same composer uses the less common 'Allegretto vivace' in the scherzo of the Sonata in E♭, op. 31, no. 3. The word applies not only to speed, but to the manner of interpreting the music. The metronome marks over two movements, one labelled 'Allegro agitato,' and the other, 'Allegro vivace,' might be exactly of the same value; the difference between the two would be entirely one of style. The Vivace in the latter case would imply an absence of passion or excitement, an even rate of speed, and a bright and cheerful character. The direction used by itself at the beginning of a movement is time-honoured; it occurs frequently in Bach and the composers of his time.

In the 'Confiteor' of Bach's Mass in B minor