John Denison Champlin.

Cyclopedia of music and musicians (Volume 2) online

. (page 21 of 93)
Online LibraryJohn Denison ChamplinCyclopedia of music and musicians (Volume 2) → online text (page 21 of 93)
Font size
QR-code for this ebook

The Violin, 285 ; Larousse ; Fayolle, No-
tices sur Corelli, Tartiui, Gavinies et Viotti

born at Eugelhaus, Bohemia, April 17,
1748, died in Homburg in 1811. Violinist,
pupil in Prague of Pichl, and in composi-
tion of Loos. He made a concert tour to
Darmstadt, and in 1774 became Conzert-
meister in Homburg. His compositions in-
clude symphonies, church music, concertos
for the violin, horn, and other instruments.
Mendel ; Fetis.

dela, Navarre, Spain, Feb. 7, 1822, died in
Madrid, March 18, 1870. Dramatic com-
poser, pupil of Jose Guelbenzu, an organist
of Pampeluua, on the pianoforte and in com-
position, and later, at the Madrid Couser-
vatorio, of Albeuiz and Caruicer. When
leader of the orchestra at the Teatro del
Principe, Madrid, he brought out his first
zarzuela, and in the twenty-five years fol-
lowing he wrote upwards of forty, some of
which were very popular. He became di-
rector of the theatre and of the Conser-


(.A //A

vatorio concerts for the Society for Mutual
Help, Chevalier of the Order of Charles
UL, Commander of that of Isabella la
Catolica, and honorary professor of the
Couservatorio of Madrid. Works Op-
eras : Escenas de Chamber! (with Bar-
bieri, Hernando, and Oudrid), 1850 ; La
picaresca (with Barbieri), 1851 ; For seguir
;'i uua mujer (with Barbieri, Inzenga, and
Oudrid), 1851 ; El Valle de Andorra, isr,2 ;
Don Simplicio Bobadilla (with Barbieri,
Hernando, and Inzeuga) 1853 ; Un dia
de rcinado (with Barbieri), 1854 ; Cata-
lina, 1854 ; El sarjento Federico (with
Barbieri), 1855 ; Eutre dos aguas, 185G ;
La zarzuela (with Arricta and Barbieri),
1855 ; Los Magyares, played over one hun-
dred times, 1857 ; Amor sin conocer (with
Barbieri), ]N.">S ; El jurameuto, 1858; Una
Yieja, I860 ; En las astas del torre, 1SG2 ;
Al Amanecer ; Anarquia conjugal ; Casado
y soltero ; El amor y el almuerzo ; El es-
treno de uu artista ; El laucero ; La cotor-
ra ; La niiia ; La edad en la boca ; Una
historia en mi meson ; Un pleito ; Tribula-
ciones ; La hija del pueblo ; Las sefias del
archiduque ; Del palacio a la tabcrna ; El
diablo las carga ; La mensajera ; Esteba-
uillo ; El suefio de uua noche de verauo ;
La cisterua encantada ; La couquista de Ma-
drid ; Las hijas de Eva ; Los comuueros ;
Matilde y Malek-Adel ; El secreto de la
ivina. A kinsman, Xavier Gaztambide,
was loader of orchestra at a Madrid theatre
in 1866, and the author of several dramatic
compositions. Fetis, Supplement, i. 370 ;
Mendel, Ergiinz., 120.

GAZZA LADKA, LA (The Thieving Mag-
pie), Italian comic opera in two acts, text
by Gherardini, music by Rossini, first rep-
resented at La Scala, Milan, May 31, 1817 ;
given in London, King's Theatre, March 10,
1821, and in Paris, Theatre Italien, Sept.
18, 1821. It was first produced in New
York, in the new opera-house in Church
Street, Nov. 18, 1833. The libretto is
founded on a French melodrama, " La pie
voleuse," which, with Mile Jenny Vertpru

in the principal character, had a long and
successful run at the Porte Saint-Martin,
Paris, in 1815. Paer, seeing its operatic
capabilities, sent the play, with marginal
notes showing how it should be divided for
musical purposes, to his librettist at Milan ;
and the latter, instead of returning it to
Paer, offered it to Rossini, who wrote for it
one of his most brilliant scores. The over-
ture, among the composer's best orchestral
works, begins with a duet for snare drums,
one of the earliest instances of the use of that
instrument in the orchestra. It was con-
sidered at the time such an innovation that

Violante Camporese.

a young musical enthusiast went about
armed, with the avowed purpose of kill-
ing Rossini. The part of Pippo, too, was
the first auxiliary part written for a con-
tralto voice, though generally sung at the
time, in the English and French theatres,
by a baritone or bass ; and it was not until
after this that a contralto was considered
an indispensable member of an opera
company, except for first parts. The part
of Ninetta, sung in 1821 in London by
Madame Camporese and in Paris by Ma-
dame Fodor, afterwards became a favourite
character with Soutag, Malibran, and Grisi.
rona, Italy, October, 1743, died at Cremona



before 1819. Dramatic composer, pupil of
Porpora in Venice and at 8. Onofrio, Naples,
and in 1767-69 of Picciuni. He returned
to Venice about 1770, and became the
friend of Sacchini, who aided him in the
production of his first opera. In 1779 he
went to Naples and remained until 1781,
when he visited Palermo, to bring out sev-
eral operas and a mass composed for the
fete of St. Cecilia. In 1791 he became
maestro di cappella of the Cathedral of Cre-
mona and devoted himself chiefly to church
music. Among his operas, II convitato di
pietra, the forerunner of Don Giovanni,
had a great success in the Italian cities,
and later in London. He left several can-
tatas, a Te Deum, and other church music.
Works Operas : II fiuto cieco, given at Vi-
enna, 1770 ; La locauda, 1771 ; II calan-
driuo, 1771; L' isola d'Alcina, 1772; Ezio,
1772 ; La troniba di Merlino, 1772 ; La
donna soldato, 1774 ; II ciarlatano in fiera,
1774 ; Marino Carbonaro, 1775 ; La fedelta
d' amore alia prova, 1776 ; Ariuida, 1777 ;
La coutessa di Nuova Luna, Dresden, 1778 ;
Antigono, Naples, 1779 ; La donna capric-
ciosa, 1780 ; II ritorno d' Ulisse, Palermo,
1781 ; Peueloppe, ib., 1781 ; La veudenmiia,
Venice, 1783 ; La creduta infedele, Naples,
1783 ; II seraglio d' Osmanuo, Florence and
Milan, 1785 ; Circe, Venice, 1786 ; Le donue
fanatiche, ib., 1786 ; La dama incognita,
1787 ; La cameriera di spirito, Venice,
1787 ; La Didoue, ib., 1787 ; II couvitato
di pietra, Venice, 1787 ; L* Italiana in Lou-
dra, Piacenza, 1789 ; L' amor costante, L' im-
presario in angustie, Ferrara, 1789 ; La
moglie cappricciosa, 1789 ; Idomeneo. Pad-
ua, 1790 ; Achilla in Sciro, about 1790 ;
La donna che non parla, about 1790 ; La
disfatta de' Mori, Turin, 1791 ; II marito
niigliore, Milan, 1801. He left also several
cantatas, a Te Deurn, and other church mu-
sic. Fetis, iii. 431 ; Supplement, i. 371 ;
Grove, Larousse.

London, May 21, 1857, still living, 1889.
Pianist, pupil of Dr. Wylde, and John

Francis Barnett at the London Academy of
Music. Works : Sonatas for pianoforte ;
String quartet ; Songs ; Two operettas.

at Versailles in 1777, died in 1823. Flu-
tist, brother and pupil of Michel Joseph
Gebauer, and, on the flute, pupil of Hugot ;
entered the orchestra of the Opera Comique
in 1801, became first flutist in 1813, and
retired in 1822 on account of feeble health.
Among his numerous compositions are : 19
works of duets for flutes ; Several do. for 2
violins ; Sonatas for flute, with bass, op. 8,
14 ; More than 100 soli, airs varies, etc.,
for flute ; Airs varies for clainet. Fetis.

Versailles in 1773, died in Paris, July, 1845.
Bassoonist, pupil of his brother Michel
Joseph Gebauer and Devienne. He was
bassoonist in the Garde Suisse when fifteen,
professor at the Versailles Conservatoire
when twenty-three, member of the orchestra
of the Opera, Paris, in 1801-26, and musician
of the emperor's chapel. Chevalier of the
Legion of Honour, 1814. Works : Sonatas ;
Duets ; Trios ; Quartets ; Quintets ; Symphon-
ies ; Overtures. Fetis ; Mendel ; Riemaun.

La Fere (Aisue), France, in 1763, died in
December, 1812, during the retreat from
Moscow. The sou of a regimental mu-
sician, he became oboist in the Swiss
Guard ; was also a singer in the chapel at
Versailles, and a clever violinist. He was
a member of the baud of the Garde Na-
tiouale, Paris, in 1791, and professor at the
Conservatoire in 1794-1802. He left the
last position to become chef of the con-
sular guard band, subsequently the Garde
Impi'riale. Works : 200 military marches ;
2 Quartets for flute, clarinet, horn, and
bassoon ; Duets for various instruments.
Fc-tis, iii. 433 ; do., Supplement, i. 371 ;
Larousse ; Mendel ; Riemann.

GEBEL, FRANZ XAVER, born at Fiir-
stenau, near Breslau, in 1787, died in Mos-
cow in 1843. Pupil of Vogler and Al-
brechtsberger. He was director of theatre



orchestras in Vienna, Pesth, and Lemberg,
where he brought out with success several
operas of his composition. From 1817 he
taught the pianoforte in Moscow. Works :
Mass ; 4 symphonies ; Several overtures ;
Quartets and quintets for strings ; Sonatas,
fantasias, etc., for pianoforte ; Preludes for
organ ; German songs. Mendel ; Fetis ;
do., Supplement, i. 371 ; Riemauu.

GEBEL, GEORG, the elder, born at
Breslau in 1685, died there in 1750. Or-
ganist, pupil of Tiburtius Wiukler and of
Johanu Heiurich Krause ; became organist
at Brieg in 1709, where he was much influ-
enced by StiJlzel, and in 1713 went in the
same capacity to Breslau. He was the in-
ventor of a clavichord with quarter tones,
and of a clavi-cymbalum with manual and
pedal. He composed a Passion-Oratorio ;
GO cantatas ; Mass with orchestra ; 25
psalms ; a collection of canons (among
which, one for 30 voices) ; 70 chorals ; 24
concertos for pianoforte ; 4S concertos and
oilier works for various instruments; prel-
udes for organ, etc., all in MS. Fetis ;
Mendel ; Riemann ; Schilling.

GEBEL, GE(H;<i. the younger, born at
Brieg, Silesia, Oct. 25, 17n!>, died at Rudol-
stadt, Sept. 24, 1753. Organist, sou and
pupil of Georg Gebel the elder, was second
opMiiist at S. M. Magdalena, Breslau, and
at the same time Kapellmeister to the Duke
of Ols. In 1835 he became a member of
Count Briihl's orchestra in Dresden ; was
appointed n >\al Kapellmeister in Rudolstadt
in 1747. Works Operas : Oedipus, 1751 ;
Medea, 17.VJ ; Tarquinius Superbus, 1752;
Sophonisbe, 1753 ; Marcus Antonius, 1753 ;
Serpillo e Melissa, given in Dresden, about
1740 ; Several cantatas ; An Oratorio ; A
Mass ; More than 100 symphonies for or-
chestra ; Concertos for pianoforte ; Church
and chamber music. His younger brother,
Georg Sigismund (died in 1775 in Breslau,
where he was organist at St. Elizabeth's),
composed fugues and preludes for the or-
gan. Allgem. d. Biogr., viii. 452 ; Fetis ;
Mendel ; Schilling.

at Nottlebeu, Thuringia, in 1787, died in
Erfurt, Sept. 4, 1802. He was organist at
the Predigerkirche and royal music director
iu Erfurt. He published several collections
of organ music. Mendel ; Riemann ; Fetis.

GEBHART, ANTON, born at Sonthofen,
Bavaria, in 1817, still living, 1889. Organ-
ist, pupil of his father and of Anton Schmid,
whose successor he became as organist and
music teacher iu Dillingen iu 1842. In 1858
he became also director of the church music.
He composed a mass, a Requiem, a Stabat
Mater, Miserere, Pangue lingua, and other
church music, and wrote on music. Mendel.

DER, aria in G major for the bass of Coro
H, with accompaniment of violin solo,
strings complete, and continue, in Johann
Sebastian Bach's Passion nach Matthiius,
Part II.

LIEBE, soprano aria iu B minor, with ac-
companiment of oboe, strings complete, or-
gan, and continue, in Johann Sebastian
Bach's cantata Bei der Rathswahl zu Leip-
zig, 1731, " Wir danken dir, Gott, wir dan-
ken dir ; " published separately, with addi-
tional accompaniments by Rob. Franz, by
F. Whistling, Leipsic, I860.

GEDULD ! GEDULD !, aria in A minor
for the tenor of Coro H, with accompani-
ment of violoncello and continue, in Johann
Sebastian Bach's 2'<i.<.<i'>n nach Matthiius,
Part I.


GEHOT, JEAN, born iu Belgium about
1756. Violinist ; made concert tours in
England, Germany, and France ; he was liv-
ing in London in 1784. He wrote quartets,
j trios, and duets for strings ; also a method
for violin, and other musical instruction
; books. Mendel ; Frtis ; Wasielewski, Die
Violine, 284.

GEIGER, JOSEPH, born in Lower Aus-
tria iu 1814, died in Vienna, Dec. 30, 1861.
Pianist, lived long in Vienna as a music
teacher, in favour at court and with the

I 1C


public. "Works : Wlasta, opera, given in
Vienna, 1840 ; Solemn mass for 4 voices
and orchestra, op. 7 ; O Deus, ergo, gradual
for 4 voices and organ, op. 6 ; Marches,
caprices, divertissements, rondos, etc., for
pianoforte. Futis, iii. 439 ; Mendel, iv.

siitter, Wermlaud, Sweden, Jan. 12, 1783,
died in Upsala, April 23, 1847. He was
professor of history in the University of
Upsala from 1817. With Liudblad he made
a collection of new Swedish songs, and with
Afzelius made the valuable compilation of
old Swedisli songs. He composed piano-
forte music and some tasteful songs in the
style of his nation. Riemaun ; Fotis.

GEISLER, PAUL, born at Stolp, Pom-
erania, Aug. 10, 185G, still living, 1889.
Dramatic composer, pupil of his grand-
father, who was director of music at Marien-
burg, and of Konstantin Decker ; has lived
mostly in Leipsic since 1873. Works :
Ingeborg, opera, text by Peter Lohinann,
Bremen, 1884 ; Der Rattenfanger von
Hameln, symphonic poem, Magdeburg,
1880 ; Till Eulenspiegel, Mira, Maria Mag-
dalena, symphonic poems ; Episodes; Mon-
ologues ; Songs.

GEISSLER, KARL, born at Mulda,
near Fraueustein, Saxony, April 28, 1802,
died at Bad Elster in 18G9. Pupil of his
father and of Fischer, cantor in Freiberg,
and prefect of the chorus. In 1822 he be-
came organist and third teacher in the city
school at Zschopau, and later was cantor
and music director. He composed songs,
pianoforte and organ music, and edited a
Choralbuch. Mendel ; Fetis ; Schilling.

Cervetti), born at Horzeniowecs, Bohemia,
Aug. 8, 1709, died in Milan, Dec. 5, 1779.
Organist and violinist, entered the Premon-
straut Abbey at Seelau, after becoming a
priest, and was sent to study law in Vienna,
but on his return found the life unbearable,
and leaving the abbey secretly, travelled as a
violinist. He lived in Naples under the name

of Cervetti. His works comprise concertos
and sonatas for the violin, church music,
and some pieces for the organ. Mendel ;

GELINEK, Abt JOSEF, born at Selcz,
Bohemia, Dec. 3, 1758, died in Vienna, April
13, 1825. Pianist, pupil of Segert ; entered
the seminary of Prague in 1783, and be-
came a priest in 1786. On Mozart's recom-
mendation he was appointed domestic chap-
lain and pianoforte teacher to Count Philipp
Kinsky, who took him in 1795 to Vienna,
where he was in the service of Prince Joseph
Kinsky thirteen years. He studied theory
under Albrechtsberger, and became inti-
mate with Mozart. He was a very fashion-
able teacher until about 1810, and his com-
positions brought him so much money that
he was able to leave his poor relatives 42,000
florins. He composed about 1,000 pieces,
mostly very shallow, though occasionally
showing an easy and elegant style. He was
called the variation-hero, and Paris dealers
had men in their employ writing music to
be published under Gelinek's name in the
time of his greatest popularity. Works :
About 125 themes with variations ; Trios
and sonatas for pianoforte and strings ;
Fantasias, rondos, sonatas, and many other
pieces for pianoforte. Wurzbach ; Mendel ;
Fetis ; Grove.

ousies), Italian opera buffa in two acts, text
by Grandi, music by Sarti, represented at
Venice, 1776. Mozart wrote for it, in 1791,
a fine chorus, of which nothing has sur-
vived but five measures in his autograph
catalogue (Kochel, 615).

Lucca in 1680, died in Dublin, Dec. 17,
1762. Violinist, pupil of Scarlatti, Loiiati,
and Corelli, who considered him his best
scholar, and of whose school he must be con-
sidered one of the foremost representatives,
although his playing and compositions dif-
fered in style from those of his great master.
He went in 1714 to England, where he soon
won reputation as a virtuoso. He visited



Paris in 1748-55, and on his return to Eng-
land settled permanently in London. In
1761 be went to
Dublin on a visit,
and died there. Ge-
rainiaui had found
the art of violin
playing iii its in-
fancy on his arrival
in England, and lie
did considerable to
advance it. His
most valuable con-
tribution was his " Art of Playing the Violin "
(London, 1740), the first book of the kind
ever published in England, it being six years
earlier than Leopold Mo/art's " Violin
School." It has the merit of handing down
to posterity the principles of the art <if play-
ing the violin as they were finally established
by Corelli. His rules for holding the vio-
lin and bow are the same as are recognized
in our day. Works : 12 solos, op. 1 (Lon-
don, 1716) ; G concertos for seven parts, op.

2 (ib., 1732, Paris, 17.").")) ; G concertos, op.

3 (London, Paris, 1775) ; 12 solos, op. 4
(London, 1739) ; G solos for violoncello, op.
5, arrangements from violin solos ; 6 con-
certos, op. G (London, 1741) ; 6 concertos
for eight parts, op. 7 ; 12 sonatas for violin,
op. 11 (London, 1758) ; 12 trios ami (I trios.
the latter an arrangement of op. 1 ; Lessons
for the harpsichord (London). He pub-
lished also an arrangement of Corelli's
solos, op. 5, as Concerti grossi (London).
Grove ; Fetis ; Hart, The Violin, 218 ;
Wasielewski, Die Violine, 48 ; Dubourg,
The Violin, 56.

RICH, Freiherr VON, pianist, born at Heil-
bronn, Nov. 5, 1726, died in Stuttgart, Jan.
19, 1791. He adopted the judicial profes-
sion, and rose to the dignity of president of
the government council in Stuttgart, prac-
tising music as an amateur, and composing
pianoforte concertos and sonatas, six sym-
phonies, chamber and vocal music, mostly
remaining in MS. He was also a poet.

Allgem. d. Biogr., viii. 557 ; Fetis ; Mendel ;

GEMMA DI VERGY, Italian opera, text
by Bidera, music by Donizetti, represented
in Milan, 1835, and in Paris, Theatre Ita-
lien, Dec. 16, 1845. It was first produced
in New York, in 1S43, by a French com-
pany from New Orleans.

(i I'A'AST, EDUARD FRANZ, born in
\Veimar, July 15, 1~'.>7, died in Wiesbaden,
Aug. 3, 1866. Dramatic composer, pupil
of Eberwein and later of Hiiser in singing.
He made his debut at Weimar in 1814 un-
der Goethe's direction ; was director of the
theatre in Magdeburg ill 1828 ; and from
1S2!) had an engagement for life at the
Weimar Court Theatre, being pensioned in
1860. He was also opera manager in Wei-
mar in 1S33-51. Works: Die Sonueumau-
ner, and Die Vernither in den Alpen,
operas, performed in Weimar ; Music to
Saphir's Die letzte Stunde des Hauses ;
Songs. He published his memoirs, Aus
dem Tagebuche eines alten Schauspielers
(Leipsic, 1861-66). Mendel ; Fetis.

GENEE, RICHARD, born in Dantzic,
Feb. 7, 1823, still living, 1889. Dramatic
composer, pupil of Stahlknecht in Berlin.
In 1848-67 he was Kapellmeister of theatres
in Reval, Riga, Cologne, Aix-la-Chapelle,
Diisseldorf, Dantzic, Mainz, Schweriu, Am-
sterdam, and Prague. Became Kapellmeis-
ter of the Vienna Theater an der Wien in
1868, and retired in 1878 to his villa at
Pressbaum, near Vienna. He is the author
of most of his own librettos, has translated
many, and has furnished some to Strauss,
Suppe, and Milli'icker. Works Operas :
Polyphem, oder ein Abenteuer auf Marti-
nique, given in Dantzic, 1856 ; Der Geiger
aus Tirol, 1857 ; Der Musikfeind, Die Gen-
eralprobe, Schwerin, 18(52 ; Rosita, Mainz,
1864 ; Der schwarze Prinz, Prague, 1866 ;
Am Runenstein (with Flotow), Prague,
1867; Der Seekadett, Vienna, 1876, trans-
lated into several languages ; Nanon, die
Wirtin vom Goldenen Lamm, Vienna, 1877 ;
Ini Wunderlaude der Pyramiden, ib., 1877 ;



Die letzten Mohikaner, Munich, 1878 ; Nisi-
ka, Vienna, 1880 ; Kosina, ib., 1881 ; Songs ;
Choruses for male voices. Brockhaus ;
Eiemann ; Mendel ; Fetis, Supplement, i.

GENERALI, PIETEO, born at Masse-
rano, Piedmont, Oct. 4, 1783, died atNovara,
Nov. 3, 1832. Dramatic composer, pupil
of Giovanni Massi. llis real name, Mer-
candetti, had been changed by his father
on his bankruptcy and removal to Rome.
He began to write masses and church mu-
sic soon after finishing his studies, and pro-
duced his first opera in 1800. In 1801-17
he visited many Italian cities, producing
operas, meeting with success especially in
Venice, where most of his best works were
given. His I baccauali di Roma had great
success, and was given in many European
cities. In 1817-20 he was director of the
Barcelona theatre and gave there many of
his works ; but, his popularity waning as
Rossini came into favour, he accepted the
position of maestro di cappella of the Ca-
thedral of Novara and devoted himself to
church music. In 1827, howevei-, he brought
out an oratorio, II voto di Jefte in Florence,
and followed this with an opera buffa, II
divorzio persiano, which was not a suc-
cess. In 1829, after studying Rossini's style,
he gave his opera Francesca da Rimini,
written for the opening of the Fenice, but
it was badly received. The precursor of
Rossini, he was the first to employ certain
harmonies and modulations of which Ros-
sini took advantage, but he did not possess
the genius of his successor. Works
Operas : Gli amauti ridicoli, Rome, 1800 ;
H duca Nottoloue, ib., 1802 ; La villana al
cimento, farce, ib., 1802 ; Le gelosie di
Giorgio, farce, Bologna, 1802 ; La Pamela
nubile, Venice, 1802 ; La calzolaja, ib.,
1803 ; Misantropia e pentimento, Gli effetti
della Somiglianza, farces, ib., 1805 ; Don
Chisciotto, Milan, 1805 ; Orgoglio ed umi-
liazione, Venice, 1806 ; L' idolo Cinese, Na-
ples, 1807 ; Lo sposo in Bersaglio, Flor-
ence, 1807 ; Le lagrime d' una vedova, II

ritratto del duca, Venice, 1808 ; Lo sposo
in contrasto, Vienna, 1808 ; La moglie di
tre mariti, Venice, 1809 ; Amore vince lo
sdegno, Rome, 1809 ; L' Adelina, La Cec-
chiua, farces, Venice, 1810 ; Chi non risica
non rosica, Milan, 1811 ; La vedova deli-
rante, Rome, 1811 ; La sciocca per gli altri e
1' astuta per se, Venice, 1811 ; Gaulo ed
Ojtono, Naples, 1812 ; La vedova strava-
gante, Milan, 1812 ; L' orbo che ci vede,
Bologna, 1812 ; Isabella, farce, Venice,
1813 ; Egiuardo e Lisbetta, Naples, 1813 ;
Amor prodotto dall' odio, Milan, 1813 ; Ba-
jazetto, La contessa di Colle Erboso, II servo
padrone, Turin, 1814 ; L' impostore ossia
il marcotondo, Milan, 1815 ; I Baccanali di
Roma (his best work), Venice, 1815 ; La
Vestale, Trieste, 1816 ; II trioufo d' Ales-
sandro, Bologna, 1816 ; Elato, ib., 1817 ;
Rodrigo di Valeuza, Milan, 1817 ; II divor-
zio persiano o il gran Bazzaro di Bassora,
Trieste, 1829 ; Francesca da Rimini, Ven-
ice, 1829. Piccoli, Elogio di P. Geuerali
(Novara, 1833) ; Fetis, iii. 445 ; do., Supple-
ment, i. 372 ; Grove ; Mendel.

GENET, ELIAZAR (Elziar), surnamed
Carpentras, or il Carpentrasso, born at Car-
pentras (Vaucluse) in the second half of the
15th century. Church composer, and maes-
tro di cappella of the Pontifical Chapel,
which he entered under Leo X., who be-
came his patron, and made him bishop in
partibus in 1518. He was sent on a mis-
sion to Avignon in 1521 (V), and having re-
turned to Rome at the end of 1523 or in
1524, we know of his being again at Avi-
gnon in 1527. Works : Liber primus mis-
sarum, containing 5 masses (Avignon, 1532) ;
Liber Lamentationum Hieremie prophete
(sic) (ib., 1532) ; Liber Hymuoruni usus Ro-
mance ecclesise (1533) ; Liber cantici Mag-
nificat, omnium tonorum. The manuscript
of the book of masses is in the Imperial
Library, Vienna. Fetis ; Schilling.

opc'ra-bouffe in two acts and seven tableaux,
text by Jaime fils and Etieune Trefeu, mu-
sic by Offenbach, first represented at the



Theatre des Bouffes Parisiens, Paris, Nov.
19, 1859. lu 1875 it was given at the The-
atre de la Gaite, iu five acts, with text re-
vised by Hector Cremieux and Trefeu, and
with eight new numbers by the composer,
mostly written for Mile Th.'n'-a.

GENISCHTA, IVAN, born in Russia
about 1810, still living, 1889. Pianist and
violoncellist, lived at Moscow, where he be-
came director of a singing society iu 1837.
His stylo was formed under the influence
of Beethoven's music. Works : 3 grand so-
natas for pianoforte and violoncello, or vio-
lin, op. C, 7, 9 ; Grand sonata for piano-

Online LibraryJohn Denison ChamplinCyclopedia of music and musicians (Volume 2) → online text (page 21 of 93)