Page:A Dictionary of Music and Musicians vol 4.djvu/829

VIOLIN-PLAYING. bottom, for 1801 read 1800; l. 4 from bottom, for 1874 read 1875. P. 298b, l. 24 from bottom, for about 1640–1700 read 1630–1679; l. 19 from bottom, for died about 1742 read 1714–1742; l. 7 from bottom, for about 1780 read 1773.

VIOLINO PICCOLO (Quart-geige, Halb-geige, Dreiviertel-geige, Three-quarter-fiddle). A violin of small size, but of the ordinary parts and proportions, differing in this respect from the pochette or kit. It was usually tuned a minor third higher than the ordinary violin, its highest string having the same pitch as the highest string of the Quinton. Leopold Mozart says the Quart-geige is smaller than the ordinary violin, and is used by children. 'Some years ago,' he continues, 'Concertos were written for these little violins, called by the Italians Violino Piccolo: and as they have a much higher compass than the ordinary violin, they were frequently used in open-air serenades (Nachtstücke) with a flute, harp, and other similar instruments. Now, however [1756], the small violin can be dispensed with. Everything is played on the common violin in the higher positions.' ('Violinschule,' p. 2.) The 'Three-quarter Fiddle' is still used by children, but is always abandoned as early as possible. Whether the 'Violino piccolo' of Bach's first Cöthen Concerto was of different pitch from the ordinary violin is doubtful. The term here possibly designates a violin somewhat smaller, and strung with thinner strings, but of the ordinary pitch. [See .] [ E. J. P. ]

VIOLONCELLO PICCOLO. A violoncello of the ordinary pitch, but of smaller size and having thinner strings. According to Quantz ('Flötenschule,' p. 212), it was generally used for solo-playing, the ordinary violoncello being employed for concerted music. Similarly, the Viola da Gamba used for solo-playing was of smaller size than the six-stringed 'concert-bass.' Bach introduces the Violoncello piccolo in the cantatas 'Jesu nun sei gepreiset,' and 'Ich geh' und suche mit Verlangen.' The parts have the usual violoncello compass. The well-known obbligato part to 'Mein glaubiges Herz' is entitled Violoncello Piccolo,' though it is probable from its construction that it was originally written for the Viola da Gamba. [ E. J. P. ]

VIRGINAL MUSIC. P. 306b, note 2, for Cromwell read Cornwall. P. 310b, l. 16 from bottom, correct the statement that the book has always been in the possession of Lord Abergavenny. It formerly belonged to Burney, and was sold at his sale for £11 0s. 6d. According to Rimbault, it was at one time in his (Rimbault's) library. [ W. B. S. ]

VISETTI,, was born (of an English mother) at Spalato in Dalmatia, May 13, 1846, and studied composition under Alberto Mazzucato at the Conservatorio of Milan, where he gained two scholarships. His exercise for his degree was a cantata to words by his friend Arrigo Boïto. His first engagement was as conductor at Nice. He then went to Paris, where A. Dumas prepared specially for him a libretto for an opera from his 'Trois Mousquetaires.' The score was hardly completed when it was burnt in the siege of the Commune. Mr. Visetti then came to London, where he has since resided, and has devoted himself chiefly to teaching singing. He is Professor of Singing at the Royal College of Music, at the Guildhall School, the Watford School, and various other institutions. He is also director and conductor of the Bath Philharmonic Society, to which he has devoted an immensity of time, money, and ability. Mr. Visetti has published translations of Hullah's 'History of Modern Music,' of Dr. Hueffer's 'Musical Studies,' and of other works. The King of Italy in 1880 conferred on him unsolicited the order of the Corona d' Italia. [ G. ]

VOCAL CONCERTS. Line 12 from end of article, for 1821 read 1822.

VOGLER, ABT., Line 12 from end of article, add that Prof. Schafhäutl has recently published a monograph on 'Abt Georg Joseph Vogler' (Augsburg, 1888), which supersedes all other works on the subject.

VOICES. P. 334b, l. 15 from bottom, for 1773 read 1764.

VOLKMANN, F. R. Add date of death, Oct. 29–30, 1883.

VOPELIUS,, born at Herwigsdorf, near Zittau, in 1645, became cantor at St, Nicholas, Leipzig, and died at Leipzig in 1715. He wrote some original tunes to hymns previously set to other music, but is chiefly known as a harmonizer of older melodies in four voice-parts. He adopts the more modern form of regular rhythm (generally 3-2), and freely uses the subdominant and major dominant even in minor keys, and the accidental ♯ and ♮. He published in 1682 'Neu Leipziger Gesangbuch,' which contains besides other tunes 100 hymns from Schein's 'Cantional oder Gesangbuch' of 1627. [ R. M. ]

VORAUSNAHME. See .

VORHALT. See .

VOSS,. See vol. ii. p. 731b, and add date of death, Aug. 29, 1882.

VOWLES, W. G., organ-builder in Bristol, is the present owner of the business established in 1814 by John Smith. The latter died in 1847, and was succeeded by his step-son Joseph Monday. On the death of Monday in 1857 he was succeeded by his son-in-law Vowles. Smith built the organ in Bath Abbey, and Vowles those of the Cathedral and St. Mary Redcliffe in Bristol. [ V. de P. ]<section end=Vowles />

VUILLAUME. P. 341b, l. 3 from bottom, for brother read father.

<section begin=Vulpius />VULPIUS,, born at Wasingen, in the Henneberg territory, about 1560, became cantor at Weimar in 1600, and held this position<section end=Vulpius />