James Duff Brown.

Biographical dictionary of musicians : with a bibliography of English writings on music online

. (page 46 of 104)
Online LibraryJames Duff BrownBiographical dictionary of musicians : with a bibliography of English writings on music → online text (page 46 of 104)
Font size
QR-code for this ebook


lish all those abuses introduced by the injudicious vanity of singers, or by the exces-
sive complaisance of masters, which have so long disfigured the Italian opera, and
instead of the most splendid and beautiful of all entertainments, thus rendering it
the most ridiculous and tiresome. My purpose was to restrict music to its true
office, that of ministering to the expression of the poetry, and to the situations of
the plot, without interrupting the action, or chilling it by superfluous and needless
ornamentation. I thought that it should accomplish what brilliancy of colour and
a skilfully adapted contrast of light and shade effect for a correct and well-designed
drawing, by animating the figures without distorting their contours. I wished,
therefore, to avoid arresting an actor in the most excited moment of his dialogue,
by causing him to wait for a tiresome ritournelle, or, in the midst of half uttered
words, to detain him on a favourable note, either for the purpose of displaying his
fine voice and flexibility in some long passage, or causing him to pause till the
orchestra gave him time to take breath for a cadence. It did not appear to me that
I ought to hurry over the second part of an aria, possibly the most impassioned and
important of all, in order to have the opportunity of repeating regularly four times
over the words of the first part, causing the aria to end where in all probability the
sense did not end, merely for the convenience of the singer, and to enable him to
vary a passage according to his caprice ; in short, I have striven to banish the
abuses against which reason and good sense have so long protested in vain.

" My idea was that the overture should prepare the spectators for the plot to be
represented, and give some indication of its nature ; that the concerted instruments
ought to be regulated according to the interest and passion of the drama, and not
leave a void in the dialogue between the air and the recitative, so that the meaning
of a passage might not be perverted, nor the force and warmth of the action impro-
perly interrupted.

" Further, I thought that my most strenuous efforts must be directed in search of
a noble simplicity, thus avoiding a parade of difficulty at the expense of clearness.
I did not consider a mere display of novelty valuable, unless naturally suggested by
the situation and the expression, and on this point no rule in composition exists that
I would not have gladly sacrificed in favour of the effect produced.

" Such are my principles. Fortunately, the libretto was wonderfully adapted to
my purpose, in which the celebrated author (Calzabigi), having imagined a new
dramatic plan, replaced flowery descriptions, superfluous similes, and cold senten-
tious morality by the language of the heart, strong passions, interesting situations,
and an ever varying spectacle."

The great principle enunciated by Gluck, that in the musical drama a natural
succession of events should be represented by a series of effects produced by the
most natural means possible, has never been fully realized in practice by any com-
poser_ (including himselt), from his own time till now. The overweening desire of
securing pubhc applause has checked any attempt in the direction of a drama which
would be simple in its elements, yet so strongly impassioned in its varying scenes
as to claim the attention of the intelligent auditor. Gluck has to a certain extent
made use of a natural simplicity in his operas, but the cold classicism of his subjects,
and their statuesque opposition to the accepted comprehension of the action of
humanity under given circumstances, are not greatly favourable to the belief that
they represent the ideal natural drama.

The great beauty of Gluck's music lies in the fact that it is always in harmony
with the nature of the poem, always beautiful, and always in keeping with his poet's
somewhat stifi' idea of life. In his operas we miss the richness of the modern stage,
but are amply recompensed by the charming grace and dramatic truth of his musical
colouring. The loveliness of many of the airs and passages throughout his works
appears remarkable when we read the statement of his determination to cut down
and prune any florid passages which may seem foreign to the prevailing sentiment
of his piece. This he has certainly done, but not \\ith so stern a resolve as one
might judge from his utterances. His melodies in " Orpheus " if not actually florid
are rich and flowing, and positively ear catching in a higher degree than would be
generally supposed by the opponents of the classical drama.

In 1774 Gluck commenced his famous contest with pubHc opinion and latterly,
in 1776, with Piccinni, for the suppression of undue ornamentation in the musical



GNE — GOD 277



drama. Gluck was supported by the queen, Marie Antionette, and a host of other
notables, while Piccinni had the support of Madame Du Barry, and a large propor-
tion of the Parisian public, including journalists and philosophers. A pamphlet
war raged for a long time between the parties, Gluck himself making reply to
several of his antagonists ; musicians, great and small, became Ghickists or
Piccinists, as also did the general public interested in music. The ultimate result
was that Gluck conquered, and established for a time his idea of a natural musical
drama. This, however, did not last, as we find his successors — French, Italian,
and German, — employing the old flourishes, and having them applauded with equal
relish by a complaisant musical public. The revival of Gluck's idea in its entirity
is due to Wagner in our own time, who has more successfully than any of Gluck's
followers striven to combine the musical and poetical elements in his operas in a
strict yet harmonious union.

GNETZLER (Johann), German organ-builder, B. Passau, 17 10. D. end of

1 8th century. Built many continental instruments.

GOBBAERTS (Jean Louis), Streaebog. Belgian comp. and pianist, B.
Antwerp, Sept. 28, 1835. S. Brussels Cons.

Works. — Le Concert dans le feuillage, bluette, for Pf., op. 33; Valse des
masques, op. 39; Twenty-four studies, in 2 vols., op. 44; Nocturne, op. 45;
Idylle, op. 49 ; Galop di bravura, op. 56 ; Premieres etudes des jeunes Pianistes,
op. 63 ; Twelve Studies, easy, op. 64 ; Serenade, op. 84 ; Les Papillons, 6 dances,
op. 108. Transcriptions, and miscellaneous Pf. music to the amount of about 300
separate pieces.

Under the noni dc phimc of Strearbog, a reversed name, Gobbaerts has written
a large quantity of light, popular music. In addition to his gifts as a composer, he
is a brilliant and successful performer.

GODARD (Benjamin Louis Paul). French comp. and violinist, B. Pans,
Aug. 18, 1S49. S. Paris Cons., 1863, under Reber, etc. Composer of music
for the Pf. ; concerted instrumental music. Songs, "Pedro de Zalamea,"
opera, Antwerp, 1S84 ; etc.

GODDARD (Arabella), Davison. English pianist, B. St. Servan, near St.
Malo, Brittany, Jan. 12, 1836. S. under Kalkbrenner at Paris. S. in Lon-
don under Mrs. Anderson and Thalberg, 1848. Debut London, March 30,
1850. S. for time under (Sir) G. A. Macfarren. Travelled on the Continent,
1854-56. Married to J. W. Davison, 1S60. Travelled in Australia and the
United States, 1873-76.
Mrs. Davison was indebted to Mr. J. W. Davison for much of her success as a
public performer. He directed her attention to many works, which she introduced to
the public with much acceptance. Her style of performance is exceedingly refined
and sympathetic, while brilliancy can at will be brought to bear on the work in
hand. She is probably the finest female pianist of modern times who has preserved
the traditions of the school which existed immediately before her advent. She has
performed in most of the large cities in Britain, and at the principal concerts.

GODDARD (Joseph). English writer and comp., B. 1S33. Author of "Moral
Theory of Music," 1857. "Musical Development, or Remarks on the Spirit
of the Principal Musical Forms," Lond., Svo, n. d. " New Graduated Method
for the Pianoforte," fo., n. d. " Time Exercises for the use of Pianoforte Stu-
dents," n. d. "A Study of Gounod's Sacred Trilogy, 'The Redemption,'"
Lond. [18S3]. Songs, Pf. music, etc.

GOCKEL (August). German pianist and comp., B. 1831. S. Leipzig, from
1845. Played in America, 1853-56. Comp. of music for the Pf., voice, and
chamber.

GODEFROID (Dieudonne Joseph Guillaume Felix). French comp. and
harpist, B. Namur, July 24, 1S18. S. Cons. Comp. for harp and Pf.
Works. — Le Reve, etude melodique, op. 23 ; La melancolie, etude caracteris-
tique, op. 24; La Danse de Sylphes, op. 31 ; Minuit, serenade, op. 34; La Danse
des Lutins, op. 42 ; Reverie, .Solitude, op. 44; Sonata dramatique, op. 45; Second
sonata, op. 53 ; Danse Indienne, op. 57 ; Les Alpes, op. 96 ; Johanr.:-be-g, valse,
op. 106 J Romance sans paroles, op. 121 ; Rondo Russe, op. 126; Reverie-



278 GOD — GOE



mazurka, op. 169; Etudes caracteristiques, etc. His brother, Jules Joseph, B.
Namur, Feb. 23, 181 1. D. 1840, was a comp. for harp and Pf.

GODFREY (Adolphus Frederick). Enghsh bandmaster and comp. B.
1837. Son of Charles, senr. Bandmaster of the Coldstream Guards. D. 28
Aug., 18S2. \\'iiter of dances in Large numl:)ers, as lancers, polkas, galops,
quadrilles, reminiscences of England, Scotland, Ireland, and Wales, &c.

GODFREY (Charles, Senr.) English bandmaster and comp. B. Kingston,
Surrey, Nov. 22, 1790. Bandmaster of Coldstream Guards. Musician in ordi-
nary to the king, 1831. Arranger of music for military bands, &c. D. Lon-
don, Dec. 1863.
GODFREY (Charles, Junr.) English bandmaster and comp. B. Jan. 1839.
Son of above. S. under Sir G. A. Macfarren at R. A. M. Bandmaster of Scots
Fusiliers, 1S60-68 : Royal Horse Guards, 1869. Mem. and Associate, R. A. M.
Prof, of Military Music at Royal Coll. of Music, and at Guildhall School of
Music.
Works. — Waltzes: La murska; Love dreams; Princess Beatrice; Princess
Louise; The blush rose. Galops: On and off; The escort; The outpost; The
wind-up ; Tramp ; Mignonette ; and others to number of 20. Quadrilles : Cro-
quet ; Orpheus ; Auber ; H. M. S. Pinafore, and others to number of 18. Lancers :
Royal Edinburgh ; Channel Fleet ; Carmen ; etc. Polkas, Schottisches, and
Mazurkas. Editor of The Oi-pheiis Journal, a military music periodical.

The band of the Royal Horse Guards, cond. by Charles Godfrey, is beyond dis-
pute one of the finest military bands in the world. Its performance of many classical
works is not exceeded in artistic effect by the best orchestras.

GODFREY (DANIEL). English bandmaster and comp. B. Westminster,

1831. Son of Charles, senr. Bandmaster of Grenadier Guards, 1856.

Travelled with band, concert-giving, in U. S. A., 1S72. Mem, and Assoc, of

R. A. M. Prof of Military Music at the R. A. M.

Works. — Transcriptions from popular operas for military bands; marches,

numerous. Valses : Guards; Mabel; Hilda; etc.

The members of this family are well known all over Great Britain for the capable
style in which they conduct their several bands. These bands are often employed
to augment the orchestra at large festivals in the Royal Albert Hall, &c.

GOEPFERT (Carl A.) German clarinet-player. B. Rimpar, Wurzburg, 16
Jan. 17CS. D. April 11, iSlS. Comp. works for his instrument, quartets, etc.

GOETHE (Johann Wolfgang von). German poet and writer. B. Frankfort-

on-the-Main, 1749. S. at Strasburg. Resided chiefly at W'eimar. D.

Weimar, 1832.

Works (which have been set to music). — " Faust " (Spohr, Gounod, Lindpainter,

etc.) ; Count Egmont (Beethoven) ; Mignon (Thomas) ; Lyrics and Lieder

(Anschiitz, Beethoven, Franz, Gronland (P.), Hauptniann, Klein (B. ), Liszt,

Liiwe (C), Meinardus (L. ), Mendelssohn, Reichardt (J. F.), Schubert, Schumann,

Spohr, Wendt (J. A.), etc.

Goethe was a great lover of music, and the story of his connection with Mendels-
sohn will lie found in any biography of that musician.

GOETSCHIUS (Percy). German writer. Author of " The Material used in
Musical Composition," Lond. 1883.

GOETZ (Hermann). German comp., B. Konigsberg, Dec. 17, 1840. S. at

Konigsberg University. S. music under Billow and Ulrich. Org. at Winter-

thur, 1863. D. Hottingen, Zurich, Dec. 3, 1S76.

Works.— Op. i. Trio for Pf , vn., and 'cello ; op. 2. Three pieces for Pf and

vn. ; op. 3. Three songs ; Quartet for strings in E. op. 6. ; Nine Pf pieces, op. 7 ;

Two sonatinas for Pf , op. 8 ; Zwei Abendlieder, for string orch., op. 9 ; Ncenia,

cantata for orch. and chorus, op. 12 ; Genrebilder, Pf pieces, op. 13 ; Quintet for

Pf , vn., viola, 'cello, and double bass, op. 16 : Sonata for Pf. duet in G min., op.

17; Concerto for Pf and orch., op. 18; Sechs Lieder for voice and Pf, op.

19; Der Widerspanstigea Zahmung (Taming of the Shrew) Mannheim, Oct. 11,



GO L — G O L 279



1874, published in London, 1878 ; Symphony in F for orch. ; Francesca di Rimini,
opera, Mannheim, 1S77 (finished by Brahms and Franck) ; The I37lh Psahn for
sob, chorus, and orch ; Pf. trio ; op. 21. Seven 4-part songs ; etc.

The death of this gifted composer at the early age of 36 was lamented by all
musicians. The merit of his works proved that had he been spared he would have
added many important works to the world's repertory.

GOLDBECK (Robert). German comp., pianist, and writer, B. Potsdam, 1835.
S. under II. Litolff. Resided in Paris and London, 1851. Went to New
York, 1857 ; Chicago, 1868 ; S. Louis, 1S73. '^^^^^ principal of a musical
cons, in Chicago.
Works. — The Soldier's Return, operetta, London; Quintet for Pf and strings ;
Trio for do. Fianofoi-te: Day-dream; Impromptu ; Mclodie-etude; La Cavalcade;
Venezia, Scene de lagunes ; Arolodo ; Caprice de Concert ; Flashes from the West ;
Fundamental Technics of Pf Playing ; Harmonized Progressive Exercises ; Plfty
Studies; High Technics; Sogni d'Amore, Pf. ; Traumgewebe, nocturne ; Danse
des Dryades ; Transcriptions and Fantasias from operas. Songs: Break, break,
break ; Day is cold ; Dreams of Heaven ; Love Song ; Moonlight deep and ten-
der ; Where'er the heart to true heart beats ; Willow song. Gradus ad Parnassum
of the Voice (vocal instructor).

GOLDMARK (Karl). Hungarian comp., B. Keszthely, May 18, 1832. S.
under Jansa at Vienna and at Cons., 1847-8. Comp. and teacher in Vienna.
Works. — Die Konigin von Saba, opera, Vienna, 1875, op- ~1 j Merlin, opera.
Die Liindliche Flochzeit, symphony for orch., op. 26 (five parts) ; Sakuntala, over-
ture for orch. ; Concerto for vn. and orch., in A min., op. 28 ; String quartet, in
B flat, op. 8 ; Quintet for Pf and strings, in B flat, op. 30 ; Dances for orch., op.
22 ; Lieder aus dem " Wilden Jjiger," von J. Wolff, op. 32 ; Sonata for Pf and
vn., op. 25; Suite for Pf and vn, 5 parts, op. 11 ; Scherzo for orch. ; Songs, etc.

GOLDSCHMIDT (Adalbert von). Austrian comp., B. Vienna, May 5, 1848.
Belongs to a family of wealthy financiers, and is independent of the musical
profession ; which, however, he follows as an amateur at Vienna. He has
comp. "Die Sieben Todsiinden," oratorio; " Helianthus," opera, Leipzig,
18S4; and some works for Pf. and orch., vocal music, etc.

GOLDSCHMIDT (Otto). German pianist and comp. B. Hamburg, Aug. 21.
1829. S. under J. Schmitt, and at Leipzig Cons, 1S33. S. under Mendels-
sohn, 1843-46 ; Chopin, Paris, 1848. Came to England, 1848. Went to
America with Mdlle. Jenny Lind, as cond., 1851. Married Jenny Lind at
Boston, U. S.. Feb. 5, 1852. Resided at Dresden, 1852-55. Settled in Lon-
don, 1852. Hon. member of Philharmonic Soc, 1S61, Vice-Principal,
R. A. M., 1863. Founded the Bach Choir, 1875.
Works. — Ruth, oratorio, Hereford Festival, 1867 ; Trio for Pf vn., and 'cello,

op. 12 ; Concerto for Pf. and orch.. op. 10 ; Six songs for voice and Pf , by O.

van Redwitz, op. 8; Six do., op. 9; Part-songs, various ; Twelve studies for Pf,

op. 13, etc.

Herr Goldschmidt is better known as a conductor and pianist than as a composer.

As a conductor he has achieved great renown, and his work in connection with

the Bach Choir has been very profitable, tending to introduce the general public to

a number of standard classics.

GOLDSCHMIDT (Jenny Lind). See Lind (Jenny).

GOLDSMITH (Oliver). Irish general writer and flute-player. B. Pallas, near
Longford, 1728. D. London, 1774.
The librettos of the operas of " The Deserted Village " (Glover and Falconer);
and "The Vicar of Wakefield," are founded on his works. Music is also written to
some of his shorter pieces. He was a musician, and supported himself by playing
the flute when travelling on the continent.

GOLDWIN (John). English org. and comp., B. [?]. S. under Dr. W. Chil.l.
Org. S. George's Chap., Windsor, 1697. Master of the Choristers, do., 17CO,
D. Nov. 7, 1 719. Comp. a service in F; anthems; MS. works, elc.



28o



GOLLMICK (Adolph). German comp. and pianist, B. Frankfort-on-the-Main,

Feb. i;, 1825. Son of Carl GoUmick. S. under his father, Riefstahl, H.

Wolff, and Kessler. Came to London, 1S44. Gave first concert, Aug. 21,

1844. Founded and directed the " Reunion des beaux arts," 1851. Married

in 1853, at Frankfort. Director of the Kilburn Musical Association, 1S79.

First oratorio performance, 1879. D. London, March 7, 1S83.

Works. — Doiia Constanza, comic opera, 3 acts ; The Oracle, comic opera,

2 acts ; Ballhasar, do., 2 acts ; Blind Beggar's Daughter of Bethnal Green, operatic

cantata; The Heir of Linne, operatic cantata ; Symphony for orch., in C minor

(MS.) ; Overture and marches for orch. ; Bf. quartet (ALS.); Bf. trio (MS.) : Six

studies for Bf. ; Eighteen German Volkslieder, trans, for Ff. ; Valse Styrienne, Ff. ;

Reverie, op. 20 ; Grand Caprice, op. Ii ; Scherzo, op. 21 ; La Flatteuse, Bf., op.

19. Songs.

GOLLMICK (Carl). German writer and comp., B. Anhalt, Dessau, March 19,
1796. S. under B, Klein and Spindler. D. Frankfort-on-the-Main, Oct. 3,
1866.
WcfkKS. — Handlexikon der Tonkunst, 1857; Critische Terminologie fiir Musiker

und Musikfreunde, 1833 ; Musikalisches Novellen und Silhouetten, 1842. Bf.

music, songs, etc.

GOLTERMANN (Georg Eduard). German violoncellist and comp., B. Man-
over, Aug. 19, 1825. Cond. and teacher at P^ankfort.

Works. — Symphony for orch., in A minor, op. 20; Concerto No. i, for 'cello
and orch., op. Ii ; Three morceaux caracteristiques, 'cello and Bf., op. 41 ; Danses
Allemanden, 'cello and Ff., op. 42 ; Do., op. 47 ; Morceaux Caracteristiques for
'cello and Bf., op. 48, 53 ; Adagio for 'cello and orch, op. 83; Romance, 'cello and
Bf., op. 87 ; Elegie for 'cello and Bf., in C minor, op. 88 ; First Sonatina for Bf.
and tenor, in A, op. 36 ; Five Songs for Barytone voice and Ff., op. 7.

Goltermann is known as one of the most refined 'cellists of modern times. Ilis
tone is full and powerful, and his execution perfection. As a conductor he is of
much eminence, being well known in Frankfort for the good service he has rendered
in this capacity.

GOMBERT (Nicolas). Belgian comp., B. Bruges [149s]. S. under Josquin
des Bres. Chap. -master to the Emperor Charles the Fifth. D. [1570].
His compositions number in all slightly over 250, and consist of masses, motets,
psalms, chansons, galliards, pavans, etc., the chief merit which they possess for
modern ears being their delightful quaintness. " His counterpoint exhibits him as
a profound harmonist. ... he composed a set of masses which were published
at Venice, and two sets of motets in four parts, all of which bespeak sufficient
genius, science, contrivance, and taste, to entitle him to a rank with the first masters
of the age he ornamented." — Busily.

GOMEZ (A. Carlos) or Gomes. Bortuguese comp., B. Compinos, Brazil,
July II, 1839. S. Milan Cons.

Works. — Operas: II Guarany, Milan, 1870, London, 1S72; Fosca, Milan, 1873;
Salvator Rosa, Genoa, 1874. II Saluto del Brasile, ode, Bhiladelphia Exhibition,
1876, etc.

GOMIS (Joseph Melchior). Spanish comp., B. Valencia, 1793. D. Baris,
July 16, 1836. ^^'rote operas, songs, Ff. music, etc.

GONZALEZ Y RODRIGUEZ (Jose Maria). Spanish org. and comp., B.
Alcala, Feb. 5, 1822. S. Madrid. Comp. masses, litanies, org. music, etc.
Brof. in Madrid Cons.

GOODBAN (Thomas). English comp. and writer, B. Canterbury, Dec, 1784.

Chor. Canterbury Cath. S. under S. Borter. Articled to a Solicitor. Resigned

the Law, 1798. Lay-clerk Canterbury Cath., 1809. Leader of the Catch

Club, Canterbury, 1810. D. Canterbury, May 4, 1S63.

Works. — A New and Complete Guide to the Art of Blaying the Violin, Lond.,

iSio ; Guide to the Biano, 181 1 ; The Rudiments of Music, 1825 ; New and Com-



G O S



plete Introduction to Singing, etc., London, 1S29; The Rudiments of Music, with
progressive exercises, Lond., 4to, 1836 (new edit.) Glees, songs, Pf. music, etc.

His sons, Charles (1812-1S81), Henry William (1816- ), and Thomas
(1822- ) were also distinguished musicians. Charles became Mus. Bac, Oxon.,
1S47, and comp. some miscellaneous pieces, the "Vocal Album," 1850, etc.
Henry William is a fine 'cellist and comp., having transcribed numerous pieces for
the Ff. and written songs, etc. ; and Thomas was a violonist. His nephew, J. F.
Goodban, is an org. and comp.

GOODGROOME (John). English comp., B. 1630. Chor. St. George's Chap.,
Windsor. Gent, of Chap. -Royal, 1660. Musician in Ordinary to the King,
1664. D. June, 1704. Comp. songs and concerted sacred and secular vocal
music.

GOODSON (Richard). English comp. and org. B. about middle of 17th cent.
Org. Christ Ch., Oxford. Mus. Bac, Oxon. Prof, of Music, Oxford Univer-
sity, in succession to Edward Lowe, July, 16S2. D. Jan. 13, 1718. Comp.
odes, songs, etc.

GOODSON (Richard, Junr.). English comp, and org., B, latter part of 17th
century. Sun of above. Org.*: of Newbury till 1709. Mus. Bac, Oxon.,
1 7 16. Prof, and org. at Oxford in succession to his father, 17 18. D. June 9,
1741.

GORDIGIANI (Luigi). Italian comp., B. Modena, June 21, 1806. D. Florence,
May, 1S60. Comp. a great number of fine songs, and a few operas. His
brother Giovanni was a comp. and singer.

GORDON (John). English musician, B. London, March 26, 1702. Educated
at Westminster School and Trinity Coll., Cambridge. S. for the Law, 1718-
22. Prof. Music, Gresham Coll., Jan. 16, 1723. Called to Bar, 1725. D.
London, December 12, 1739.

GORDON (William). English comp., B. end of i8th century. S. under Drouet.
Captain of Swiss Guards in Paris. Commenced improving flute mechanism,
1S30. D. insane, in consequence of unsuccessful experiments, 1839 (?). His
system of fingering was perfected by Boehm, but authorities differ both in the
matter of the original invention and subsequent improvements.

GORIA (Alexandre Edouard). French pianist and comp., B. Paris, 1823.
D.Paris, 1S60. Comp. a great quantity of popular Pf. music. Op. i. Bluette;
op. 2. Harmonic du soir, nocture ; op. 3. Berceuse ; op. 4. Canzonetta ; op. 5.
Mazurka ; op. 6. Caprice-nocturne ; op. 7-8. Etudes de Concert ; op. 9. Seren-
ade ; op. lo-ii. Nocturne ; op. 12. Valse ; op. 13. Andante ; op. 14. Mazurka;
op. 15-17. Studies; op. 18. Mazurka; op. 19. Reverie; Transcriptions from
operas, op. 20, 22, 24, 31, 34, 38, 42, 46, 51, etc. Le Pianiste Moderne,
studies ; Ecole moderne de Pianiste, op. 63. Miscellaneous pieces. His
studies are extremely useful works.

GOSS (John Jeremiah). English vocalist, B. Salisbury, 1770. Chorister
Salisbury Cath., and lay vicar, do. Gent, of Chap. Roy., 1808. Vicar choral,
St. Paul's Cath. Lay vicar of Westminster Abbsy. Principal alto at meetings
of the Three Choirs. D. May, 181 7.

GOSS (Sir John, Kt.). English comp. and org., B. Fareham, Hants, Dec
27, 1800. Son of Joseph Goss, org. of that place. Chorister in Chap. Roy.,
under J. S. Smith, 1811. S. under Attwood. Org. of St. Luke's, Chelsea,
1824. Org. St. Paul's Cath., 1838-72. Comp. to Chap. Roy., 1856-72.
Knighted, 1872. Mus. Doc, Cantab., 1S76. D. Brixton, Lond., May 10,
1880.

Works.— Church Service, in A ; Burial Service, in E minor ; Te Deum for H.M.
Thanksgiving at St. Paul's Cath., for the restoration to health of H. R. II. the
Prince of Wales. Benedictus. Te Deums in C, D, and F ; Cantate Domino and
Deus misereatur, in C ; Magnificat and Nunc Dimittis, in E. Ani/iems : Almighty
and merciful God ; And the king said to all the people (dirge) ; Behold I bring you
good tidings ; Blessed is the man ; Brother, thou art gone before us ; Christ, our
Passover ; Come, and let us return unto the Lord ; Fear not, O land ; Have mercy



282 COS — GOT



upon me ; Hear, O Lord ; I heard a voice from heaven ; I will magnify Thee, O
God ; If we believe that Jesus died ; In Christ dwelleth ; Lift up thine eyes round



Online LibraryJames Duff BrownBiographical dictionary of musicians : with a bibliography of English writings on music → online text (page 46 of 104)