motets by Verdelot. (See also Van der Straeten, 'Musique de Pays-Bas,' vi. 473.)
[ J. R. M. ]
VERDI Line 3 of article, for Oct. 9 read Oct. 10. P. 240b, omit note 1, as there is nothing in the mention of 'leather' and 'pedals' which militates against the instrument having been a spinet, as stated in the text. P. 247b, l. 26 from bottom, for Roger read Royer. P. 248a, l. 27 from bottom, for March 17 read March 14. P. 248b, l. 26, for Oct. 26 read Oct. 25. P. 250a, l 39, for April 12 read March 24; l. 3 from bottom, for Il read Un. P. 250b, l. 18, for Dec. 27 read Dec. 24; l. 31, for in read May 24. P. 251, add that Verdi's latest work, 'Otello,' set to a poem founded on Shakespeare by Boito, was produced at the Scala, under Faccio's direction, on Feb. 5, 1887. P. 252b, l. 2, for Mini read Nini; l. 3, for Bouchenon read Boucheron; l. 8, for Mabollini read Mabellini. P. 254 b, in list of works, for date of 'Macbeth' read March 14. For 'Stifellio' in line 1 of second column and in note 3 read 'Stiffelio.' For date of 'Un ballo in Maschera' read 1859.
VERDONCK, Cornelius, born at Turnhout in Belgium in 1563, belongs to the later school of Flemish composers, influenced from Italy, as Italy had earlier been influenced from Flanders. He lived chiefly at Antwerp, in the service of private patrons, and died there July 4, 1625. As a musician, he must have been highly appreciated by his contemporaries, as the following epitaph, inscribed to his memory in the Carmelite Church at Antwerp shows; a copy of which we owe to the obliging kindness of M. Goovaerts, keeper of the Public Archives at Brussels:—
D. O. M. S.
SISTE GRADUM VIATOR
UT PERLEGAS QUAM OB REM HIC LAPIS LITTERATUS SIET
MUSICORUM DELICIAE
CORNELIUS VERDONCKIUS
TURNHOLTANUS HOC CIPPO EHEU! CLAUSUS
PERPETUUM SILET
QUI DUM VIXIT
VOCE ET ARTE MUSICA
MORTEM SURDA NI ESSET FLEXISSET
QUAM DUM FRUSTRA DEMULCET
COELI CHORIS VOCEM AETERNAM SACRATURUS
ABIT
IV NON. JUL. ANNO MDCXXV AETAT. LXII
AT TU LECTOR BENE PRECARE ET VALE
CLIENTI SUO MOESTUS PONEBAT
DE CORDES.
His compositions consist chiefly of madrigals for four, six, and up to nine voices, many of which appear in the miscellaneous collections published at Antwerp by Hubert Waelrant and Peter Phalese between 1585 and 1610. For details, see Goovaerts' 'Histoire et Bibliographic de la Typographic Musicale dans les Pays-Bas'; also Eitner's 'Bibliographie der Sammelwerke.' One of his madrigals was received into Young's English collection entitled 'Musica Transalpina,' published in London, 1588. A few sacred compositions also appear among the published works of Verdonck. An Ave Maria of his for 4 voices is printed in the Ratisbon 'Musica Divina,' Annus, ii. Liber ii, 1874.
[ J. R. M. ]
VEREENIGING, etc. The list of publications issued by this society is to be continued as follows:—
11. Const. Huygens, 'Pathodia Sacra et Profana' (ed. W. J. A. Jonckbloet and J. P. N. Land, 1883).
12. Six Psalms by Sweelinck. In 4 parts (ed. R. Eitner, 1884).
13. J. A. Reinken's 'Hortus Musicus' (ed. J. C. M. van Riemsdijk. 1886).
14. J. A. Reinken, 'Partite diverse sopra l'Aria: 'Schweiget mir von Weiber nehmen' (1887).
(Without. No.) J. P. Sweelinck, 'O Sacrum Convivium,' 5 part motet.
15. J. P. Sweelinck, Cantio sacra, 'Hodie Christus natus est,' 5 parts.
The second volume of the society's 'Tijdschrift' was completed in 1887.
VERTICAL (or PERPENDICULAR) and HORIZONTAL METHODS OF COMPOSITION. Two highly characteristic and expressive terms, used by modern critics for the purpose of distinguishing the method of writing cultivated by modern Composers from that practised by the older Polyphonists.
The modern Composer constructs his passages, for the most part, upon a succession of Fundamental or Inverted Chords, each of which is built perpendicularly upwards, from the bass note which forms its harmonic support, as in the example on p. 520 of the present Appendix.
The Polyphonic Composer, on the other hand, thinking but little of the Harmonies upon which his passages are based, forms them by weaving together, horizontally, two or more Melodies, arranged in contrapuntal form—that is to say, in obedience to a code of laws which simply provides for the simultaneous progression of the Parts, with the certainty that, if they are artistically woven together, the resulting Harmony cannot fail to be pure and correct; as in the example on pp. 580 and 581 of this Appendix.
[ W. S. R. ]
VESQUE VON PÜTTLINGEN, Johann, born of a noble family of Belgian origin, July 23, 1803, at Opole, the residence of Prince Alexander Lubomirski. His parents went to live in Vienna in 1804, and at 12 years old he was sent to the Löwenbürgische Convict there for about a year. He began his musical studies in 1816, learning successively from Leidesdorf, Moscheles, and Worzischek. In 1822 he went to the University of Vienna in order to study for the civil service, which he entered in 1827. As early as 1830 he completed an opera, on the libretto of Rossini's 'Donna del Lago,' which was performed by amateurs in a private house. In 1833 he studied counterpoint, etc., with Sechter, and in Oct. 1838 a 2-act opera, 'Turandot,' was given with success at the Kärnthnerthor Theatre. In this and his other musical compositions he adopted the pseudonym of 'J. Hoven.' Two years later a third opera, 'Jeanne d'Arc,' in 3 acts, was given in Vienna. The work was considered worthy of being performed at Dresden in 1845, with Johanna Wagner in the principal part. His other operas are 'Der Liebeszauber,' 4 acts, 1845; 'Ein Abenteuer Carl des II,' 1 act, 1850; 'Burg Thayer,' 3 acts, apparently not performed; 'Der lustige Rath,' 2 acts, 1852, produced at Weimar by Liszt; 'Lips
