| No. | Name. | Page. | Composer. | Title in Index.
|
| 38 | Brunswick's Toy | 114b | {{{1}}}„{{{1}}}„ | 'The Duke of Brunswick.' |
| 39 | Pavana | 115 | {{{1}}}„{{{1}}}„ | 'The Trumpet Pavin.' |
| 40 | Galliardo | 116 | {{{1}}}„{{{1}}}„ | 'The Galliard to it.' |
| 41 | Pavana | 118 | {{{1}}}„{{{1}}}„ | 'The Lo. Lumlies Pavin.' |
| 42 | The Galliard | 120 | {{{1}}}„{{{1}}}„ | 'The Galliard to it.' |
| 43 | Wake Galliard | 122 | {{{1}}}„{{{1}}}„ | 'Wake's Galliard.' |
| 44 | Docter Bulle's Jewell | 124 | {{{1}}}„{{{1}}}„ | |
| 45 | Duretto | 125 | ||
| 46 | A Galliard | 126 | Doctor Bull | 'The Lo. Hunsden's Galliard.' |
| 47 | A Prelude | 127 | {{{1}}}„{{{1}}}„ | In ff, fa, ut. |
| 48 | A Galliard | 128 | {{{1}}}„{{{1}}}„ | The Galliard to Pavan no. 70. |
| 49 | Fantasia | 130 | {{{1}}}„{{{1}}}„ | 'A Fancy.' |
| 50 | Havana | 135 | {{{1}}}„{{{1}}}„ | 'The Mallincholy Pavin.' |
| 51 | The Galliard to itt | 137 | {{{1}}}„{{{1}}}„ | |
| 52 | As I went to Wallsingham | 139 | {{{1}}}„{{{1}}}„ | |
| 53 | Felix Namque | 150 | Thos. Tallis | |
| 54 | Goe from my windoe | 157 | Will. Byrd | |
| 55 | 1. Galliarda | 160 | Orl. Gibbons, 'Bachellor of Musik.' | |
| 56 | 2.{{{1}}}„ | 162 | Orl. Gibbons | 'The Hunt's up.' |
| 57 | 3. A Maske | 167 | {{{1}}}„{{{1}}}„ | |
| 58 | 4. Galliard | 168 | {{{1}}}„{{{1}}}„ | |
| 59 | 5.{{{1}}}„ | 170 | {{{1}}}„{{{1}}}„ | 'The La. Hatten's Galliard.' |
| 60 | 6. A Fancy | 171 | {{{1}}}„{{{1}}}„ | |
| 61 | 7. A Toy | 171 | {{{1}}}„{{{1}}}„ | |
| 62 | 8. Galliard | 180 | {{{1}}}„{{{1}}}„ | |
| 63 | 9. Almaine | 181 | Attributed to Orlando Gibbons in the Index. | |
| 64 | 10. Almaine | 181 | 'The Ffrench Allmaine.' | |
| 65 | 11. Allmaine | 182 | Orl. Gibbons. | 'Another Allmaine.' |
| 66 | 12. Fantasia | 184 | {{{1}}}„{{{1}}}„ | 'A Fancy.' |
| 67 | Galliard | 186 | Benj. Cosyn | 'Sir Richard Latener's Galliard,' |
| 68 | The Goldfinch | 187 | {{{1}}}„{{{1}}}„ | |
| 69 | Pavana | 188 | Doctor Bull | 'A Pavin in Gamut flatt.' |
| 70 | Pavana | 190 | Mr. Yves sett forth B. Cosyn | 'Mr. Yves his Allmaine.' |
| 71 | Allmaine | 192 | {{{1}}}„{{{1}}}„ | 'The Coranto to Itt.' |
| 72 | Galliard | 194 | Orl. Gibbons | |
| 73 | Fantasia | 196 | {{{1}}}„{{{1}}}„ | 'A Fancy.' |
| 74 | Prelludem | 198 | {{{1}}}„{{{1}}}„ | 'A Prelude.' |
| 75 | Fantasia | 199 | {{{1}}}„{{{1}}}„ | 'A Fancy.' |
| 76 | In Nomine | 200 | {{{1}}}„{{{1}}}„ | |
| 77 | Fantasia | 201 | {{{1}}}„{{{1}}}„ | 'A Fancy.' |
| 78 | An Allmaine | 202 | {{{1}}}„{{{1}}}„ | |
| 79 | Allmaine | 203 | {{{1}}}„{{{1}}}„ | |
| 80 | A Fancy for a Double Orgaine. | 204 | {{{1}}}„{{{1}}}„ | |
| 81 | Fantasia | 206 | {{{1}}}„{{{1}}}„ | 'A Fancy in Gamut flatt.' |
| 82 | {{{1}}}„ | 208 | {{{1}}}„{{{1}}}„ | 'A Fancy in C, fa, ut.' |
| 83 | {{{1}}}„ | 210 | {{{1}}}„{{{1}}}„ | 'Another Fancy in C, fa, ut.' |
| 84 | {{{1}}}„ | 211 | {{{1}}}„{{{1}}}„ | 'A Fancy in A, re.' |
| 85 | Galliard | 212 | Doctor Bull | 'The Galliard to no. 87. |
| 86 | {{{1}}}„ | 214 | {{{1}}}„{{{1}}}„ | 'The La. Lucie's Galliard.' |
| 87 | Pavana | 215 | {{{1}}}„{{{1}}}„ | 'Queene Elizabeth's Pavin.' |
| 88 | In Nomine | 218 | {{{1}}}„{{{1}}}„ | |
| 89 | Dr. Bulles Greefe | 220 | {{{1}}}„{{{1}}}„ | |
| 90 | Galliard | 221 | {{{1}}}„{{{1}}}„ | 'The Vauting Galliard.' |
| 91 | Mr. Bevan's Morning and Evening Service. | 222 | Bevin | |
| 92 | O my sonne Absolon | 235 | ||
| 93 | Morning and Evening Service in D. | 236 | Tallis | |
| 94 | Morning and Evening Service in D. | 246 | Strogers | |
| 95 | Morning and Evening Service in D. | 260 | Byrd | |
| 96 | Venite in F | 272 | Benj. Cosyn[1] | |
| 97 | Morning and Evening Service in F. | 274 | Orl. Gibbons | |
| 98 | Morning Serivce in F. | 284 | Tho. Weelks |
Her Majesty the Queen has graciously allowed the writer to examine and describe the two collections of Virginal Music at Buckingham Palace; his thanks are also due to the Marquess of Abergavenny, for permission to examine and describe Lady Novell's Virginal Book, preserved at Bridge Castle; to Mr. E. Maunde Thompson, Dr. Charles Waldstein, Mr. W. G. Cusins, and particularly to Mr. Bertram Pollock and Mr. Birkitt, who have respectively been of great assistance in different points which have arisen with respect to this article.
VIRTUOSO. A term of Italian origin, applied, more abroad than in England, to a player who excels in the technical part of his art. Such players being naturally open to a temptation to indulge their ability unduly at the expense of the meaning of the composer, the word has acquired a somewhat depreciatory meaning, as of display for its own sake. Virtuosität—or virtuosity, if the word may be allowed—is the condition of playing like a virtuoso.
Mendelssohn never did, Mme. Schumann and Joachim never do, play in the style alluded to. It would be invidious to mention those who do.
VITALI, Tomaso, an eminent violinist and composer, was born at Bologna about the middle of the 17th century. He appears to have held appointments as leader of orchestras at Bologna and Modena successively, and, according to Fétis, published 5 sets of Sonatas for 1 and 2 Violins with Bass. His name has in our days again been made known to the general public by a Chaconne with variations, which was edited by F. David ('Hohe Schule') and has frequently been played in public by Mme. Neruda and others. This work, which has rightly been described as a worthy precursor of Bach's famous Chaconne, proves Vitali to have been a musician of great skill and remarkable talent.
VITTORIA, Tommaso Ludovico da—or, to give the name in its Latin form, Victoria, Thomas Ludovicus de—is, next to Palestrina, the greatest musician of the Roman school of the 16th century. Though Vittoria is assigned to the Roman school, that must not be understood as if he ever became a mere follower or imitator of Palestrina, as he is sometimes considered. He was Spanish by birth, and always remained Spanish in feeling; but, like Escobedo, Morales, Soto, etc., he made Rome the principal sphere of his activity. It is perhaps on this account that it is not usual to reckon a distinct Spanish school of music, as well as on account of the general affinity of style of these Spanish composers to their Roman contemporaries. We should not however forget that the Roman school itself was partly formed and largely influenced by these Spanish musicians. Palestrina, in whom the Roman school is practically summed up, must have learnt as much from his Spanish predecessors who held office in the Papal chapel, Escobedo and Morales, as from his immediate master Goudimel. If from Goudimel and older Netherlanders Palestrina learned his science, his familiarity with all the technicalities of his art,
- ↑ Cosyn's name does not occur in the Index: no. 96 consists of a Te Deum, Benedictus, Kyrie, Creed, Magnificat, and Nunc Dimittis, and the whole service is attributed to Gibbons.
