Page:A Dictionary of Music and Musicians vol 4.djvu/828

812 Tullian,' 1 act, not performed. In 1872 he retired from the civil service, and in 1879 received the title of 'Geheimrath.' He died at Vienna, Oct. 29, 1883. He enjoyed the friendship of nearly all the musicians of his time; he corresponded with Mendelssohn, Schumann, Berlioz, Liszt, and many other distinguished men. His compositions of various kinds reach the opus-number 58, besides two masses, and other works unpublished. The above information is obtained from a sketch of his life published by Holder of Vienna, 1887, bearing no author's name. [ M. ]

VESTALE, LA. Line 3 of article, for Dec. 16 read Dec. 15. The date given by Clément, Riemann, etc., was the date at first announced for the performance.

VESTRIS,. Add that during her engagements with Elliston, Charles Kemble, etc., with their permission, she re-appeared at the King's Theatre, and played in Rossini's operas on their production in England, viz. as Pippo (in 'La Gazza'), March 10, 1821; Malcolm Graeme (in 'Donna del Lago'), Feb. 18, 1823; Zamira (in 'Ricardo e Zoraide'), June 5, 1823; Edoardo (in 'Matilde di Shabran '), July 3, 1823; Emma (in 'Zelmira'), at Mme. Colbran-Rossini's début, Jan. 24, 1824; and Arsace, with Pasta as Semiramide, July 15, 1824. She played there also in 1825, and as Pippo at Fanny Ayton's début in 1827. This last year she played in English at Covent Garden, George Brown in 'The White Maid' ('La Dame Blanche'), Jan. 2, a part played in Paris by the tenor Ponchard, and Blonde in 'The Seraglio,' a mutilated version of Mozart's 'Entführung,' Nov. 24. [ A. C. ]

VIADANA,. Corrections as to his name and place of birth will be found in vol. iv. p. 314, note 2.

VIANESI,, born at Leghorn Nov. 2, 1837, naturalized a Frenchman in 1885, had been for many years the conductor of various Italian opera companies before finally becoming first conductor at the Opéra in Paris. He is the son of a musician, and was taught music by the advice of Pacini and Döhler, and became a chorus master in Italy. In 1857 he came to Paris furnished with a letter of introduction to Rossini from Pasta, and in Paris he completed his musical education. In 1859 he was called to London to conduct the orchestra at Drury Lane. He then went to New York, and was afterwards engaged at the Imperial Theatre at Moscow. He made a short stay in St. Petersburg, and then for twelve years conducted the Italian opera at Covent Garden. Besides this he has wielded his bâton in many other towns, as Vienna, Trieste, Barcelona, Madrid, Manchester, Liverpool, Glasgow, Dublin, Chicago, Philadelphia, etc. He has a talent for conducting those Italian opera companies which are got together for a month or six weeks, where the singers have neither time to rehearse nor to become acquainted with each other's methods. On July 1, 1887, M. Vianesi, who was naturalized just in time, was chosen by the directors of the Opéra to replace Altès [see in Appendix] as conductor. He fills the post with much exuberance of gesture, but with scarcely more authority than his predecessor. [ A. J. ]

VIARD-LOUIS,. See vol. iv. p. 342, where, last line of article, for 1844 read 1884.

VICTIMÆ PASCHALI. A Prose, or Sequence, sung, in the Roman Church, on Easter Sunday and during its Octave, immediately after the Gradual, which intervenes between the Epistle and Gospel. The text, written in a very irregular metre, with unexpected rhymes marking the caesura and close of verses of constantly varying rhythm, is attributed, by Rambachius, to the 11th century. The old Ecclesiastical Melody, in Modes I. and II., is probably of equal antiquity, and may well have been composed by the author of the text, since it adapts itself, with never-failing facility, to the rhythmical change in the verse.

The Sequence was a great favourite with the Polyphonic Composers, most of whom have treated it with marked success. The finest examples are the well-known settings by Palestrina. [ W. S. R. ]

VIEUXTEMPS. The date of birth is probably to be corrected to Feb. 20, on the authority of Paloschi and Riemann.

VIOLETTA MARINA. Add that the instrument was invented by.

VIOLIN-PLAYING. P. 287a, l. 7 from bottom of text, for Cortigniano read Cortegiano. P. 289, in the table of violinists, the following corrections are to be made. In Group I the date of Leclair's birth should be given as 1687; that of De Beriot as 1802; that of Jos. Hellmesberger as 1828. Add date of death of Alard, 1888. In Group II, for Jn. Linley read Th. Linley. In Group III, Kalliwoda's date is to be read 1800, and that of A. Stamitz as 1755. In Group IV, J. Becker's date should be 1833. In Group V the date of Baltzar's death is 1663. In Group VI, Barthelemon's date is 1741, and that of the death of Aubert le vieux, 1753. P. 290a, l. 31, add that the Ciaccona here attributed to G. B. Vitali, is the composition of. The article on p. 313b, of this volume refers to this latter composer, not to G. B. Vitali. P. 290b, l. 7, after the words see that article, add in Appendix. P. 292a, l. 27 from bottom, for about 1700 read 1676. P. 292b, l. 20 from bottom, the last word belongs to the line above. Line 19 from bottom, for about 1700 read 1687. P. 293a, line 26 from bottom, for 1801 read 1861. Line 6 from bottom, for 1700 read 1698. P. 296a, l. 19 from bottom, for 1836 read 1833. Line 13 from bottom, add date of Alard's death, 1888. P. 297b, line 8, for born 1822 read 1822-1887; l. 16, after Dont, add dates, 1815–88. P. 298a, l. 25 from bottom, for 1796 read 1797; l. 7 from