VERSE. A term used in church music to signify that an anthem or service contains portions for voices soli—duets, trios, etc. The origin of the term is obscure; but it is possible that it arose from a colloquial expression that certain services or anthems contained verses (i.e. portions of canticles or of Scripture) to be sung by soloists. A verse-service or verse-anthem sometimes includes portions set for a voice solo. When one voice maintains the chief part of an anthem it is described as a 'Solo-anthem': but the expression solo-service is rarely used. Some writers only employ the term verse-anthem when an anthem commences with voices soli. An anthem which commences with a chorus followed by parts for soli voices is termed 'full with verse.'
VERSICLE (Lat. Versiculum). A short sentence, in the Offices of the Church, followed by an appropriate Response; as—'V. Domine, in adjutorium meum intende. R. Domine, ad adjuvandum me festina.' 'V. God, make speed to save us. R. O Lord, make haste to help us.'
The Versicles—or, rather, the Responses which follow them—from the Office of Vespers, and other Roman Catholic Services, have been harmonised by Vittoria, G. B. Rossi, and other Composers: but none of them will bear any comparison with the matchless English Responses, in all probability set originally to the old Latin words, by our own Tallis, whose solemn harmonies have never been approached, in this particular form of music. Some very fine Responses by Byrd, and other English Composers, will be found, in company with old versions of those of Tallis, in Jebb's Choral Responses.
VERT-VERT. Comic opera in 3 acts; words by Meilhac and Nuitter, music by Offenbach. Produced at the Opéra Comique, March 10, 1869.
VERVE, a French word adopted as the equivalent of spirit or inspiration in performance.
VESPERALE—The Vesperal. That portion of the Antiphonarium Romanum which contains the Plain-Chaunt Melodies sung at Vespers. It contains the words and music of all the Psalms, Canticles, Antiphons, Hymns, and Versicles, used throughout the ecclesiastical year; the music being printed in the old Gregorian Notation. The most correct Vesperals now in print are those published at Mechlin in 1870, and at Ratisbon in 1875; the latter formally authorised by the Congregation of Rites.
VESPERS (Lat. Officium Vesperarum, Vesperæ, Oratio vespertina, Ad Vesperas). The last but one, and most important, of the 'Horæ Diurnæ,' or Day hours,' in the Antiphonarium.
The Office begins with the Versicle and Response, 'Deus in adjutorium,' followed by five Psalms. On Sundays, these are usually Pss. cix, cx, cxi, cxii, and cxiii (corresponding to Pss. cx–cxiv in the English Prayer-Book version); on other days, they vary. Each Psalm is sung with a proper Antiphon, which, on certain Festivals, is doubled i.e. sung entire, both before and after the Psalms. On Ferial days, the first two or three words only of the Antiphon are sung before the Psalm, and the entire Antiphon after it. The Psalms are followed by the Capitulum; and this by a Hymn, which varies according to the Festival or the day of the week. After this, 'Magnificat' is sung with a special Antiphon. Then follows the Prayer (or Collect) for the day; succeeded by the proper Commemorations. Should Compline follow, the Office of Vespers ends here. If not, the Commemorations are followed by one of the 'Antiphons of Our Lady,' with which the Office concludes.
The music sung at Vespers is more solemn and elaborate than that used at any of the other Hours. The proper Plain-Chaunt Melodies are found in the Vesperal. [See Vesperale.] The Melodies of the Antiphons are of extreme antiquity. The Psalms are sung to their proper Gregorian Tones; for the most part, either entirely in Unison, or in alternate verses of Unison and Faux Bourdon. Many Faux Bourdons, by the great Composers, are still extant. Proske has included some by B. Nanini, F. Anerio, and others, in vol. iii. of his 'Musica Divina'; and a copy of a MS. collection, entitled 'Studij di Palestrina,' will be found among the Burney MSS. in the British Museum. Proske has also printed a very fine setting of the opening Versicle and Response, by Vittoria; and Ambros another, by G. B. Rossi, first printed in 1618.
Polyphonic Magnificats are necessarily very elaborate; for during the Canticle the High Altar is incensed, and sometimes the Altar in the Lady Chapel also—a ceremony which often occupies a considerable time. [See Magnificat.]
The Hymns for the various Seasons have also been frequently set, in very elaborate form, by the Polyphonic Composers; Palestrina's 'Hymni totius anni' is a complete collection, of unapproachable beauty. Some fine isolated specimens will also be found among the works of Tallis, Byrd, and other Composers of the English School; and Proske has published many interesting examples, collected from various sources. The four 'Antiphons of Our Lady'—Alma Redemptoris, Ave Regina, Regina Cœli, and Salve Regina—have been treated by many good writers, including Palestrina, Anerio, and O. Lasso, in the form of highly developed Motets.
With so large a répertoire of Compositions of the highest order, the Office of Vespers may be made a very impressive one; and, indeed, with little more than Plain-Chaunt, treated in Unison, and very simple Faux-Bourdon, it is sung at Notre Dame de Paris, S. Sulpice, and other large French churches, with a solemnity well worthy of imitation.
VESPRI SICILIANI. [See Vêpres Siciliennes, Les, p. 238b.]
VESTALE, LA. Lyric tragedy in 3 acts; words by Jouy, music by Spontini. Produced at the Grand Opera, Paris, Dec. 16, 1807. [App. p.812 "for Dec. 16 read Dec. 15. The date given by Clément, Riemann, etc., was the date at first announced for the performance."]
VESTRIS, Lucia Elizabeth,[1] or Eliza Lucy,[2] born either Jan. 3 or March 2, 1797, in
