composition'); (9) Jakob Freystaedtler; (10) Johann Gänsbacher; (11) Abbé Gelinek; (12) Anton Halm; (13) Joachim Hoffmann; (14) Johann Horzalka; (15) Joseph Hugelmann; (16) J. N. Hummel; (17) Anselm Hüttenbrenner; (18) Frederic Kalkbrenner ('written during his stay in Vienna'); (19) Friedrich August Kanne; (20) Joseph Kerzkowsky; (21) Conradin Kreutzer; (22) Eduard Baron von Lannoy; (23) M. J. Leidesdorf; (24) Franz Liszt ('a boy of eleven years old, born in Hungary'); (25) Joseph Mayseder; (26) Ignatz Moscheles; (27) Ignatz F. Edler von Mosel; (28) W. A. Mozart fils; (29) Joseph Panny; (30) Hieronymus Payer; (31) J. P. Pixis; (32) Wenzel Plachy; (33) Gottfried Rieger; (34) P. J. Riotte; (35) Franz Roser; (36) Johann Schenk; (37) Frank Schoberlechner; (38) Franz Schubert; (39) Simon Sechter ('Imitatio quasi Canon a tre voci'); (40) S. R. D.; (41) Abbé Stadler; (42) Joseph de Szalay; (43) Wenzel Tomaschek; (44) Michael Umlauff; (45) Fr. Dionysius Weber; (46) Franz Weber; (47) Ch. A. de Winkhler; (48) Franz Weiss; (49) Johann Wittassek; (50) J. H. Worzischek.
(The Graf Dietrichstein, mentioned under No. 6, was the leading aristocratic musician of the time. Schubert's 'Erlkönig' is dedicated to him. The initials S. R. D. under No. 40 probably indicate the name of some other aristocratic amateur). A long coda by Carl Czerny is appended to the variations. The MS. of Schubert's variation, No. 38, which is in the Imperial Library of Vienna, bears the date March 1821. According to this the later date given by Schindler for the inception of the plan must be incorrect.
VAUDEVILLE THEATRE. To list of London Theatres under this head add:—
Terry's Theatre; architect, Walter Emden; lessee, Edward Terry. Opened Oct. 17, 1887.
Court Theatre (re-erected on a site near the former theatre of that name); architect, W. Emden; lessees, Mrs. John Wood and Mr. Arthur Chudleigh. Opened Sept. 24, 1888.
Shaftesbury Theatre; architect, C. J. Phipps; proprietor, John Lancaster. Opened Oct. 20, 1888.
Grand Theatre, Islington. Burnt down Dec. 28, 1887. Rebuilt; architect, Frank Matcham; lessee, Charles Wilmot. Re-opened Dec. 1, 1888.
Lyric Theatre; architect, C. J. Phipps; proprietor, Henry J. Leslie. Opened Dec. 18, 1888.
VAUGHAN, Thomas. Line 7 from end of article, for He read Vaughan. Line 4 from end, for 1826 read 1825.
VECCHI, Orazio. P. 235a, l. 13, for Sept. read Feb.
VEILLONS AU SALUT DE L'EMPIRE, a political song written by Ad. S. Roy in 1791, and adapted by him to the popular air 'Vous qui d'amoureuse aventure,' from Dalayrac's 'Renaud d'Ast' (produced at the Comédie Italienne, July 19, 1787). The song, which bears the sub-title of 'Chant de Liberté' was one of the first lyrical utterances suggested by the French Revolution, and it is a great error to suppose that it was adapted for use under the first Empire, for the democratic ideas expressed in Roy's verses were absolutely interdicted under the first Napoleon. The word 'Empire,' which has given rise to this widely-spread impression, refers here to the State, not to the imperial Government. The success of the song was enormous, and it required nothing less than the 'Marseillaise' to drive it out of popular favour. The first three verses alone are by Roy; the fourth was added in 1840, when the song was for a time rescued from the oblivion into which it had fallen.
VENI SANCTE SPIRITUS. A Prose, or Sequence, sung, in the Roman Church, on Whitsunday, and during the Octave of Pentecost, between the Epistle and Gospel. The text, in Trochaic Dimeter Catalectic, arranged in strophes of three verses, the two first of which rhyme together, while the third verse in every strophe ends in the syllable 'um,' was written in the tenth century, by King Robert of France, and, in graceful and touching simplicity, has never been surpassed. Whether or not King Robert also composed the old Ecclesiastical Melody—a very fine example of the use of Mode I.—it is impossible to say. It is, however, quite worthy of the text, both in sentiment and in graceful freedom of construction.
Veni Sancte Spiritus has not been so frequently treated by the Polyphonic Composers as some of the other Sequences. Palestrina has, however, treated it more than once, in settings of the highest order of excellence.
VENICE. The frequent and laudatory references made by foreigners to the Conservatories of Venice abundantly prove the reputation which they enjoyed during the 17th and 18th centuries. The President de Brosses, in his 'Lettres Historiques' (Tom. i.), speaks in the highest terms of the pleasure he received from Venetian music generally. 'The passion of the nation for this art is,' he says, 'inconceivable'; but 'the music par excellence is the music of the Hospitals; … the girls sing like angels; they play the violin, the flute, the organ, the hautboy, the violoncello, the bassoon, in short no instrument is large enough to frighten them.… Nothing can be more delightful than to see a young and pretty novice dressed in white with a bunch of pomegranate flowers behind her ear, conducting an orchestra and beating the time.' Casotti (Lettere, July 29, 1713), assures us that at Vespers in the Incurabili they do not chant they enchant (non cantano ma incantano). Rousseau (Confessions, vii.) bears similar testimony to the charm of the singing in the Venetian Conservatoires; and readers of Dr. Burney's letters will not have forgotten his extreme delight at the music which he heard at the Incurabili under Galuppi's direction; 'I ran away,' he says, 'from the music at Santa Maria Maggiore, to the Incurabili, where Buranello and his nightingales …
