See also:

• VICTORIA
• VICTORIA (or VITTORIA), TOMMASSO LUDOVICO DA (C. I540-C. 1613)
• VICTORIA [ALEXANDRINA VICTORIA]

VICTORIA (or See also:

• VITTORIA

VITTORIA), TOMMASSO LUDOVICO DA (C. I540-C. 1613)  , See also:

• SPANISH

Spanish musical composer, was See also:

• BORN, IGNAZ, EDLER VON (1742–1791)

born at See also:

• AVILA
• AVILA (anc. Abula or Avela)
• AVILA, GIL GONZALEZ DE (c. 1577-1658)

Avila (unless, as Haberl conjectures, his See also:

• TITLE (0. Fr. title, mod. titre, from Lat. titulus)

title of See also:

• PRESBYTER (Gr. apactObTepos, elder, the comparative of IrOo-Oas, an old man)

Presbyter Abulensis refers not to his birthplace but to his See also:

• PARISH (Gr. irapouda, district, neighbourhood; 7r&poucos, one dwelling near or beside, from crap&, OtKOS, house; Lat. paroecur, Late Lat. parochia; cf. Fr. paroisse)

parish as See also:

• PRIEST (Ger. Priester, Fr. pretre)

priest, so that his name would indicate that he was born at See also:

• VITTORIA

Vittoria) . In 1573 he was appointed as See also:

• MAESTRO

Maestro di Cappella to the Collegium Germanicunt at See also:

• ROME
• ROME (Roma)

Rome, where he had probably been trained . See also:

• VICTORIA
• VICTORIA (or VITTORIA), TOMMASSO LUDOVICO DA (C. I540-C. 1613)
• VICTORIA [ALEXANDRINA VICTORIA]

Victoria See also:

• LEFT

left Rome in 1589, being then appointed See also:

• VICE

vice-See also:

• MASTER (Lat. magister, related to tnagis, more, as the corresponding minister is to minus, less; the English form is due partly to the O. Eng. maegister, and partly to O. Fr. maistre, mod. maitre; cf. Du. meester, Ger. Meister, Ital. maestro)

master of the Royal See also:

• CHAPEL

Chapel at See also:

• MADRID

Madrid, a See also:

• POST

post which he held until 1602 . In 1603 he composed for the funeral of the empress Maria the greatest See also:

• REQUIEM

requiem of the See also:

• GOLDEN

Golden See also:

• AGE (Fr. age, through late Lat. aetaticum, from aetas)

Age, which is his last known See also:

• WORK

work, though in 1613 a contemporary speaks of him as still living . He was not ostensibly See also:

• PALESTRINA, GIOVANNI PIERLUIGI DA (1526-1594)

Palestrina's See also:

• PUPIL (Lat. pupillus, orphan, minor, dim. of pupus, boy, allied to puer, from root pm- or peu-, to beget, cf. "pupa," Lat. for " doll," the name given to the stage intervening between the larval and imaginal stages in certain insects)

pupil; but Palestrina had the See also:

• MAIN (from the Aryan root which appears in " may " and " might," and Lat. magnus, great)
• MAIN (Lat. Moenus)

main See also:

• INFLUENCE (Late Lat. influentia, from influere, to flow in)

influence upon his See also:

• ART

art, and the See also:

• PERSONAL

personal relations between the two were as intimate as were the See also:

• ARTISTIC

artistic . The work begun by Morales and perfected by Palestrina left no stumbling-blocks in Victoria's path and he was able from the outset to See also:

• EXPRESS (through the French from the past participle of the Lat. exprimere, to press out, by transference used of representing objects in painting or sculpture, or of thoughts, &c. in words)

express the purity of his ideals of religious See also:

• MUSIC

music without having to sift the See also:

• GOOD, JOHN MASON (1764-1827)

good from the See also:

• BAD, BCD

bad in that Flemish tradition which had entangled Palestrina's path while it enlarged his See also:

• STYLE
• STYLE (from Gr. a-6'1ms, a column; a different word from that used in literature, see below)

style . From Victoria's first publication in 1572 to his last requiem (the Officium Defunctorum of 1605) there is practically no See also:

• CHANGE (derived through the Fr. from the Late Lat. cambium, cambiare, to barter; the ultimate derivation is probably from the root which appears in the Gr. «a urmu', to bend)

change of style, all being pure See also:

• CHURCH
• CHURCH (according to most authorities derived from the Gr. Kvpcaxov [&wµa], " the Lord's [house]," and common to many Teutonic, Slavonic and other languages under various forms—Scottish kirk, Ger. Kirche, Swed. kirka, Dan. kirke, Russ. tserkov, Buig. cerk
• CHURCH, FREDERICK EDWIN (1826-1900)
• CHURCH, GEORGE EARL (1835–1910)
• CHURCH, RICHARD WILLIAM (1815–189o)
• CHURCH, SIR RICHARD (1784–1873)

church music of unswerving loftiness and showing no inequality except in concentration of thought . Like his countryman and predecessor Morales, he wrote no See also:

• SECULAR (Lat. saecularis, of or belonging to an age or generation, saeculum)

secular music;' yet he differs from Morales, perhaps more than can be accounted for by his later date, in that his devotional spirit is impulsive rather than ascetic . His work ' One See also:

• FRENCH
• FRENCH, DANIEL CHESTER (1850– )
• FRENCH, NICHOLAS (1604-1678)

French See also:

• SONG

song is mentioned by See also:

• HAWKINS, CAESAR HENRY (1798-1884)
• HAWKINS, or HAWKYNS, SIR JOHN (1532-1595)
• HAWKINS, or HAWKYNS, SIR RICHARD (c. 1562-1622)
• HAWKINS, SIR JOHN (1719-1789)

Hawkins, but no secular music appears in the See also:

• PROSPECTUS (Lat. for view, look-out, prospect, from prospicere, to look forward)

prospectus of the See also:

• MODERN

modern See also:

• COMPLETE

complete edition of his See also:

• WORKS

works published by Breitkopf and Hartelis the See also:

• CROWN

crown of Spanish music: music which has been regarded as not constituting a See also:

• SPECIAL

special school, since it absorbed itself so thoroughly in the Rome of Palestrina . Yet, as has been aptly pointed out in the admirable See also:

• ARTICLE (from Lat. articulus, a joint)

article " Vittoria " in See also:

• GROVE (O.E. graf, cf. O.E. gr(efa, brushwood, later" greave "; the word does not appear in any other Teutonic language, and the New English Dictionary finds no Indo-European root to which it can be referred; Skeat considers it connected with " grave," to
• GROVE, SIR GEORGE (182o-1900)
• GROVE, SIR WILLIAM ROBERT (1811-1896)

Grove's See also:

• DICTIONARY

Dictionary of Music and Musicians, See also:

• ROMAN

Roman music owes so much to that Spanish school which produced See also:

• GUERRERO

Guerrero, Morales and Victoria, that it might fairly be called the Hispano-Roman school . In spite of the See also:

• COMPARATIVE

comparative smallness of Victoria's output as compared with that of many of his contemporaries, there is no mistaking his claim to See also:

• RANK (O.Fr. rant or rent, mod. rang, generally connected with the O.E. and O.H.G. bring, a ring)

rank with Palestrina and Orlando di See also:

• LASSO (LASSOS), ORLANDO (c. 1530-1594)
• LASSO (Span. lazo, snare, ultimately from Lat. laqueus, cf. " lace ")

Lasso in the triad of supreme 16th-See also:

• CENTURY (from Lat. centuria, a division of a hundred men)

century masters . In any extensive See also:

• ANTHOLOGY

anthology of liturgical polyphony such as the Musica Divina of Proske, his work stands out as impressively as Palestrina's and Lasso's; and the style, in spite of a resemblance to Palestrina which amounts to See also:

• IMITATION (Lat. imitatio, from intitari, to imitate)

imitation, is as individual as only a successful imitator of Palestrina can be .

That is to say, Victoria's individuality is strong enough to assert itself by the very See also:

• ACT (Lat. actus, actum)

act of following Palestrina's path . When he is below his best his style does not become crabbed or harsh, but over-facile and thin, though never failing in euphony . If he seldom displays an elaborate technique it is not because he conceals it, or lacks it . His mastery is unfailing, but his methods are those of See also:

• DIRECT

direct emotional effect; and the intellectual qualities that strengthen and deepen this emotion are themselves innate and not sought out . The emotion is reasonable and lofty, not because he has trained himself to think correctly, but because he does not know that any one can think otherwise . His works fill eight volumes in the complete edition of Messrs Breitkopf and Hartel . ( D . F .