��88 Brunswick's Toy . 39 Parana . . . ,
��Wake Galliard. 44 Docter Bulle's Jewell
��47 A Prelude
48 A Galliard
��49 Fantasia .
51 The Galliard to itt . 62 As I went to Wallsing- ham.
53 Felix Namque. . . .
54 Goe from my windoe . 05 1. Galliarda. .
��68 4. Galliard . 59 5.
6. A Fancy .
61 7. A Toy . .
62 8. Galliard .
63 9. Almaine .
65 11. Allmaine
66 12. Fantasia
67 Galliard . .
��68 The Goldfinch.
69 Pavana . . . Havana . . .
��Allmaine. Galliard .
��73 Fantasia .
75 Fantasia .
76 In Nomine
��Fantasia . . An Allmaine
��77 78 79 Allmaiue
A Fanny for a Doubl< Orgaine.
��8S In Nomine . . . 89 I>r. Bulles Greefe 90 1 Galliard . . . .
��Mr. Sevan's Morning and Evening Service.
92 O my sonne Absolon .
93 Morning and Evening
Service in D.
��Morning and Evening 246
��Service in D. 95 Morning and Evening Service in D.
��Do tor Bull
��Thos. Tallis Will. Byrd Orl. Gibbons, Bachellor ofMusik. 1 Orl. Gibbons
��Orl. Gibbons Benj. Cosyn
��Doctor Bull Mr. Yves sett
forth by B.
Benj. Cosyn l Orl. Gibbons
��Title in Index.
��The Duke of Bruns- wick.' 'The Trumpet Pavin.'
The Galliard to it.'
The Lo.Lumlies Pavln.' 'The Galliard to it.'
��The Lo. Hunsden's Gal- liard.' Inff,fa,ut. The Galliard to Pavan
no. 70. ' A Fancy." The MallincholyPavin.'
��The Hunt's up.*
��The La. Batten's Gal- liard.'
��Attributed to Orlando Gibbons in the Index. ' The Ffrench Allmaine.' Another Allmaine.* A Fancy.'
Sir Bichard Latener's Galliard,'
A Pavln in Gamut flatt.' Mr. Yves his Allmaine.'
��The Coranto to Itt.'
A Fancy.' A Prelude.' A Fancy.'
��A Fancy in Gamut flatt.'
A Fancy in C, fa, ut.' Another Fancy in C, fa, ut.'
A Fancy in A, re.' The Galliard to no. 87, The La. Lucie's Gal- liard.'
Queene Elizabeth's Pa- vin.'
��The Vauting Galliard.'
��97 1 Morning and Evening
Service in F. 98 1 Morning Service in F.
Her Majesty the Queen has graciously allowed the writer to examine and describe the two
l 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.
��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. [W.B.S.]
VIRTUOSO. A term of Italian origin, ap- plied, 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 ac- quired a somewhat depreciatory meaning, as of display for its own sake. Virtuositat or vir- tuosity, 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. [G.]
VITALI, TOJIASO, an eminent violinist and composer, was born at Bologna about the middle of the 1 7th century. He appears to have held appointments as leader of orchestras at Bologna and Modena successively, and, according to Fe'tis, published 5 sets of Sonatas for I and 2 Violins with Bass. His name has in our days again been made known to the general public by aChaconne 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 de- scribed as a worthy precursor of Bach's famous Chaconne, proves Vitali to have been a musician of great skill and remarkable talent. [P.D.]
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 1 6th century. Though Vittoria is assigned to the Roman school, that must not be under- stood as if he ever became a mere follower or imitator of Palestrina, as he is sometimes con- sidered. 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 predeces- sors who held office in the Papal chapel, Escobedo and Morales, as from his immediate master Goudimel. If from Goudimel and older Nether- landers Palestrina learned his science, his fami- liarity with all the technicalities of his art,