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A dictionary of music and musicians (A.D. 1450-1889) by eminent writers, English and foreign : with illustrations and woodcuts (Volume 4) online

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tention of the musical world. [A. J.]

GODDARD, Arabella. The last sentence
on p. 604 is to be corrected, as the Sonata in
Bb, op. 106, had been introduced to England
by M. Alexandre Billet on May 24, 1850, at St.
Martin's Hall. In that and the following year,
M. Billet gave thirteen concerts of chamber-
music in London, with very interesting pro-

GODFREY. Add date of death of Adolphus
Fkederick, Aug. 28, 18S2.

GOD SAVE THE KING. P. 606 a, the last
note of the final musical example should be A.
Line 9, for p. 98 read fo. 98 ; and 1. 22, for p. 66
read fo. 56. P. 607 a, after 1. 17 from bottom,
add has set it for solo and chorus with accom-
paniment for PF., violin, and ceUo (B. & H's.
ed. No. 259).

Add that the version made by Harries for use
in Denmark appeared in the ' Flensburgsches
Wochenblatt' for Jan. 27, 1790, and begins 'Heil
Dir, dem liebenden.' It is expressly stated to have
been written for the melody of ' God save great
George the King.' The Berlin form, beginning


'Heil Dir, im Slegerkranz,'is by Balthasarj
hard Schumacher, and was published ii
' Spenersche Zeitung,' Berlin, Dec. 17. 179 J
a paper by A. Hoffman von Fallersleben ii
' Findlinge,' Leipzig, 1859.

Besides the authorities quoted in vol. i.
Mr. Cummings's papers, see an article by 1
Crawford in Julian's ' Dictionary of Hymnd
P- 437-

GOETZ, Hermann. Correct date of bill
Dec. 7, 1840 (Paloschi, and Pougin's supplel
to Fetis). Add to works mentioned in articl
Cantata ' Nanie ' (Schiller) for chorus and
chestra, op. 10; Cantata 'Es liegt so still
male chorus and orchestra, op. 11 ; six s<
op. 12 ; and ' Genrebilder,' six pianoforte pi
op. 13. His posthumous works include a set
of Psalm cxxxvii. for soli, chorus and orche
first performed in England by the London Mo
Society, June 27, 1879 ; Quintet in C minoi
piano and strings (with double bass) ; a f
sonata for four hands, concertos for piano
violin ; and several songs and vocal quartete

GOLDBERG, Joseph Pasquale, bont
Vienna Jan. I, 1825 ; began his career ]
violinist, as a pupil of Mayseder, and stn
counterpoint and composition under Ritter
Seyfried at Vienna. At the age of 12 he
peared at the Grand Redoutensaal, and
formed a concerto in E minor, with orchesbt
his own composition, dedicated to Spohr. A
a few years he left Vienna for Italy, and pi
at Trieste, Venice, Bergamo, etc. From ]
he went to Paris, and was then urged by Rt
and Meyerbeer to become a singer ; he rece
his vocal instruction from Rubini and Bordi
and afterwards from the old Lamperti in |
He was engaged for three years as Prime |
assoluto, in the principal theatres of Italy,
the age of 18 he made his dfl)ut at Padn
Donizetti's ' Regina di Golconda,' and met
a most favourable reception. At Verona
Genoa he sang with his sister, Fanny Gold
Marini, at that time one of the most celebi
prima donnas of Italy, in ' JNIaria di Ro
But being of a serious and retiring disposi
and detesting the stage, he decided to leal
and returned to Paris determined to sing on
concerts and to teach the art of singing.
Paris he became a favourite, and was on
most intimate terms with Rossini, Donu
Chopin, Halevy and Thalberg. In iS-d
came to London to fulfil a six-weeks engag^
with Jullien. From 1850 to 1861 he %
several provincial concert tours in England
Grisi, Alboni, Mario, etc., and then settle
London, where he has since remained as a
fessor of singing. Among his pupils we
name Giuglini and Brignoli, Mme. Gassier, i
Rabatinsky, and his own sister, Catheruia C
berg-Strossi, who earned a great success a
Scala,]Milan, and at the Grand Teatro, Barca
In 1 87 1 Mr. Goldberg was commissionec
Correnti, Minister of Public Instruction
report upon the Conservatoires of. Italy, an


ipose reforms in the method of instruction.
3 proposals were approved by Lauro Rossi,
: then Principal of the Naples Conservatorio,
1 have since been put in force throughout
ly. In consideration of these services Gold-
g was created a Knight of the Crown of Italy,
arge number of his vocal compositions have
n published and sung by the most celebrated
jers here and on the continent. He was also
composer of 'La Maria Trionfale,' which was
yed by the military bands when the troops of
;tor Emanuele entered Rome for the iirst
e. Mr. Goldberg has been many years pro-
of at the Royal Academy of Music, and also
fessor to H.R.H. the Princess Louise. [G.]

rOLDMARK, Karl. Correct date of birth
May 1 8, 1830, on the authority of Paloschi,

Pougin's supplement to Fetis. Add that
three-act opera 'Merlin' was produced in
nna, Nov. 19, 1886. Selections from it were
3n at a Richter concert in the following year.
lew symphony in E b was given at Pesth in

iOLDSCHMIDT. P. 608, 1. 7, note that
chim and von Bulow, though studying at
pzig, were not in the Conservatorium. Add
b he introduced in Germany Handel's ' Ode
S. Cecilia's day,' and in England conducted
Allegro ed II Penseroso,' for which he wrote
itional accompaniments. These works had

been heard in Germany or England in a
iplete form since Handel's time,

iOLINELLT, Stefano, bom Oct. 26, 181 8,
Bologna, was taught pianoforte playing and
aterpoint by Benedetto Donelli, and compo-
>n by Vaccaj. He was professor at the Liceo
Jologna from 1840 to 1870, having been ap-
ited by Rossini while director. To this
iposer Golinelli dedicated his 24 Preludes for
loforte, op. 23. He became acquainted with
ler while on a visit to Bologna in 1842, and
icated to him his 12 Studies, op. 15. He
sequently made a tour throughout Italy, and
uired a reputation as a composer. He also
>'ed in France, Germany, and England, ap-
ring in London in 185 1 at the Musical
ion, playing with Sivori and Piatti. He
red from public life altogether in 1870, and

since resided at Bologna or in the country.

compositions, to the number of 200, published
Ricordi, T. Boosey & Co. and Breitkopf &
rtel, are written exclusively for the piano,
sy include 5 Sonatas, 3 Toccate (op. 38, 48,

186) ; 24 Preludes dedicated to Mile. Louise
xenc (op. 69) ; 24 Preludes, ' Ai Giovani
nisti'(op. 177), adopted by the Liceo ; Album,
icated to Mercadante ; Tarantella, op. 33 ;
•carola, op. 35 ; ' Adfele et Vfrginia,' 2
odies, op. 34; ' Le Viole Mammole,' op. 39;
egretto giojoso, Milan 187S; operatic fan-
as, etc. [A.C.]

lOLLMICK, Adolph, born Feb. 5, 1825, at
,nkfort-on-the-Main. He received instruction
the pianoforte from his father, Carl GoUmick



(1796-1866), writer and composer, and on the
violin from Riefstahl and Heinrich Wolf. In
1844 he came and settled in London, and gave
his first concert Aug. 21 at Pape's Pianoforte
Rooms. He was favourably received both as
pianist and violinist. In 1S47 he founded the
Reunion des Beaux Arts, in 1864 the West-
bourne Operatic Society, and in 1879 the Kil-
burn Musical Association. In addition he gave
concerts in London and the provinces, and at
Hamburg, Frankfort, etc. His compositions in-
clude the operas ' Balthazar,' performed in private
at Frankfort, i860 ; ' The Oracle,' Bijou Theatre,
Bayswater, 1864; 'Dona Costanza,' Criterion
Theatre, 1875; 'The Heir of Linne,' operatic
cantata, Dublin and St. George's HaU, 1877 ;
' The Blind Beggar of Bethnal Green,' dramatic
cantata, London, Bii-mingham, etc., 1877 ; a sym-
phony in C minor, MS. ; a pianoforte quartet and
trio in C minor ; drawing-room pieces, 'Abschied,'
' The Dripping Well,' 'La Flatteuse' ; transcrip-
tions of German Volkslieder, various songs, etc.
He died in London March 7, 1883. [A.C.]

GOMEZ, A. C. P. 609 a, 1. 4 from bottom,
add date of production of 'Fosca,' Feb. 16, 1873.
P. 609 b, 1. 2>for in read July 19.

GOODBAN, Thomas. Correct date of bfrth
to Dec. 1784.

GOOVAERTS, Alphonse Jean Marie An-
dre, bom at Antwerp, May 25, 1847, comes of
an artistic family, his grandfather being a Flemish
poet of some celebrity, and his father an excel-
lent amateur musician. When still a child M.
Goovaerts showed great talent for music, but after
some education at the Jesuits' College at Ant-
werp, owing to family losses he was obliged at
the age of 15 to embrace a mercantile career.
During this part of his life he studied music with
the greatest assiduity, and soon after 1866 (when
he obtained a post in the Antwerp Town Library)
his sacred motets began to be performed in the
churches of his native town. From 1868 tO;
18 74 he published seven small volumes of Flemish
songs, to words by Frani Willems, set for three
voices and intended for the use of primary
Flemish schools. In 1869 his 'Messe Solennelle,*
for orchestra, chorus, and organ, was performed
on St. Cecilia's Day with great success, although
it was the work of a musician entirely self-taught
in harmony, composition, and orchestration. It
had been preceded by a small Mass a 4 with
organ accompaniment and several Flemish songs,
etc. M. Goovaerts next began to occupy himself
with literature, without however neglecting the
composition of church music. In 1874 ^^ began
the efforts for the reform of church music by
which he is best known. Having been appointed
musical secretary to the Antwerp Cathedral, he
established an amateur Domchor, for which he
transcribed ninety motets, etc., by Palestrina,
Lasso, and the great Flemish and Italian com-
posers. These attempted reforms met with strong
opposition, to which M. Goovaerts replied by
articles in the 'F^d^ration Artistique' and other
pnpers, and by a work on the subject published



simultaneously in French and Flemish, 'La
Musique d'jfeglise. Considerations sur son etat
actuel et Histoire abr^gtle de toutes les ecoles de
I'Europe.' After two journeys in Germany and
Holland, to study the work of the Ratisbon school
of the former country and the Gregorian Associa-
tion of the latter, M. Goovaerts in iSSi became
one of the leaders of the Gregorian Association
founded by the Belgian bishops in that year,
for which he has recently composed a motet,
* Adoramus,' for four equal voices. In 1877 ^^
•was crowned by the Belgian Academic, and in
iSSohe received the gold medal for his 'History
of Music Printing in the Netherlands.' In the
same year appeared his valuable work on Abra-
ham Verhoeven, which was translated into Flem-
ish in the following year. M. Goovaerts, after
having been for some time Assistant Librarian
at the Antwerp Town Library, is now (1887)
employed at the Archives Royales at Brussels.
He is a member of many learned societies, both
Belgian and foreign. The following is a list of
his principal musical and literary works : —


Ave Mirla.
2 O Salutarls.
Flemish Songs.
Pieces for Piano and Violin.
Petite Messe.
Messe Soleunelie.
Dree stcnimige Liederen voorde

Ave verum.
Tantum Ergo.
O Jesu, sapientia,
NoeKP. V.)
Lieder and Scenas.
Choral Music, etc.

Notice biographique et biblio- La Musique d'Eglise (translated

graphique sur Pierre Phalfese, into Flemish).

Imprimeur de Musique k An-'c^n^alogie delafamilledeLiagre.

vers au 16» si^cle, suivie dujLe Pelntre Michel-Ange Immeu-

catalo^ue chronologique de ses raet.

impressions. Gfeealogie de la famille Wouters.

Levensschets van Kidder Leo de Histoire et Bibliographie de la

Burbure. Typographie Musicale dans les

Une nouvelle ceuvre de Pierre Be- Pays Bas.

noit, analys& par Pierre Pha- Qrigine des Gazettes et Nouvelles

liise (translated into Flemish). Periodiques. Abraham Ver-
JJotice Historlque sur un tableau' hoeven (transl. into Flemish).

de Michel-Angelo de Cara- Articles In the Biographic Na-

vaggio. ' tionale. f'yy JJ.yi

GORDIGIANI, LuiGi, Last line of article,
for in read May i.

GORIA, A. E. See vol. ii. p. 733 6.

GOSS, Sir John. Line 3 of article add date
of birth, Dec. 27, 1800. P. 611 a. 1. 9, complete
date of 'The Church Psalter, etc.', 1856. Add
date of Goss's death. May 10, 18S0.

GOSSEC, F. J. Add to list of works an
oratorio, ' L'Arche d'alliance,' performed at the
Concert Spirituel ; Choruses to the tragedy of
'Electra' (1783); 'Berthe' (with Philidor and
Botson, Brussels 1775); operas, 'Hylas et
Silvie,* * La Reprise de Thoulon,' and ' Le Peri-
gourdin,' not publicly performed. It should also
be noticed that the introduction of horns into the
orchestra is attributed to him, and that the em-
ployment of the gong or tam-tam in his funeral
music in honour of Mirabeau is the first instance
of its use as an orchestral instrument. [^-1

GOSTLING, Rev. John, born about the
middle of the 1 7th century, was sworn a gentle-
man extraordinary of the Chapel Royal on Feb.
25- 1678, and three days later was admitted in
ordinary, on the death of William Tucker. He


is called 'a base from Canterbury, Master
Arts.' He subsequently became a minor cat
of Canterbury, vicar of Littlebourn, chaplain
the King, Sub-dean of St. Paul's and Prebend;
of Lincoln. He died July 17, 1733. He ^
one of the most famous singers of his time,
account of the volume and compass of his b
voice. He was one of the 'ministers' at '
coronations of James II, and of William {
Mary. Hawkins gives an anecdote explain
the origin of Purcell's anthem, ' They that
down to the sea in ships,' a work written to e
Gostling's voice, and at his own request, in
History, p. 707 (Novello's ed.). [See vol.
p. 148 a, in. p. 47 a, 49 b.] [I

GOTTSCHALK, Louis Moeeatt, bom
New Orleans, May 2, 1829, of an English fail
Doctor of Science at Cambridge, Mass., am
French mother, daughter of Count Antoine
BrusltJ, colonel of a cavalry regiment and go^
nor of St. Domingo at the time of the insuri
tion. His family being in easy circumstam
young Gottschalk studied the piano as
amusement ; at the age of 12, having aire
gained much applause as a performer, he obtaii
permission to go to France in order to p^
himself. In Paris his first master was Ch«9
Hall^ ; he afterwards studied with Cam
Stamaty, and for composition with Maled
who was Saint-Saens' first master. While
was in Europe his family sustained he;
pecuniary losses, and he at once thought of ti
ing his talents to account. He was not cont
with merely playing in drawing-rooms, butg
concerts, by which his name as a composer !
pianist was quickly established. He also m
a professional tour in the French provin
Savoy, Switzerland, and Spain, in which .
country he had an enormous success (1852).
his return from his travels he was recalled by
father to New Orleans. He then began his i
tour through America, playing his piano con)
sitions and conducting his orchestral works
monster festivals ; a symphony entitled ' La IS
des Tropiques,' a triumphal cantata, an overt!
fragments of an unpublished opera, etc., ■»
heard in this way. His success was so g)
that an American speculator. Max Straka
since famous for having brought out Mme. P(!
engaged him to make an enormous tour thra
the States. From this period Gottschalk's caj
was one of incessant and successful travel. :
died suddenly at Rio de Janeiro, Dec. 18, ij
at the very time when, tired of his wandei
life, he was planning a quiet retreat at P|
For some time he had been weakened by fi
and fatigue, and at one of his concerts, a
seized by a fatal presentiment, he was unabl
finish his last composition, 'La Morte.' P:
ably no artist travelled more than Gottschi
in Spanish America, where he was idol
by the public, there is scarcely a town of
importance where he did not give concerts,
wrote voluminously for the piano, and his wo
popular at the time of their production, l\
an originality and a local colour which v;


iich enhanced by the extraordinary charm,
ission, and melancholy of his playing. He
;gan to compose at the age of sixteen, and his
Bananier,' at one time famous in both hemi-
iheres, dates from this time. Few of his pieces,
:cept a T;irantella for piano and orchestra,
ten played by Plante, have lived to the present
ly, and even most of their titles are forgotten,
ottschalk himself is only remembered as an ex-
iptionally gifted virtuoso, whose successes were
insiderable, but who was not a great artist in
le highest sense of the term, since he was never
innected with the classical school, and his com-
jsitions owe their worth entirely to the charm,
eshness, and variety of his playing. [A. J.]

GOUNOD, Charles FBAXfois. The follow-
g observations are to be added to the article in
)1. i. p. 613, etc. : — In spite of the entire failure
: ' Polyeucte,' he continued to write new works
r the Op^ra, where, up to the present time,
Faust,' originally written for another theatre,
is alone held its ground. 'Le Tribut de
amora' was represented on April i, 1881, but
le opera disappeared from the bills as quickly
5 'Polyeucte'' had done. He then took up
is first opera, ' Sapho,' enlarged it into four
zta, added some music, and produced it in this
>rm on Apr. 2, 1884. According to the general
pinion the work lost by this treatment, and the
Illy parts which were still pleasing were those
1 which a certain youthful charm was found in
le midst of purely scholastic scoring. The result
■as not such as the author had wished for, and
Sapho' was withdrawn after a limited number of
spresentations. For several years past, Gounod
as plunged into a religious mysticism, and de-
oted himself to the composition of great sacred
rorks. The first of these, 'The Redemption,'
ketched in 1868, but not finished till 1881, was
erformed at the Birmingham Festival of 1882,
nd in Paris, April 3, 1884; the second, ' Mors
t Vita,' composed when he was rewriting
Sapho,' was produced at the Birmingham
■"estival of 188,5, and in Paris May 22, 1886.
?his new ideal of dramatico-religious music,
v'hich he calls * music treated in the style of
i-esco' {musique plane et peinte a f res que) seems
o have first occurred to Gounod when he turned
ds attention to religious subjects in order to
■iiiulate the reputation of Berlioz's ' Enfance du
Jhiist ' and Massenet's ' Marie Magdeleine,' and
lesired to introduce innovations on the work of
lis rivals. He has made simplicity an absolute
ule. The long recitatives on a single note, or
ising and descending by semitones, the solo parts
)roceeding invariably by the intervals of a thfrd, a
ixth, or an octave, while the choral and orches-
ral parts adhere to incessant reiterations of the
ame chords ; these impart a monotony and a
leaviness to the work which must weary the best
lisposed audience. The same style predominates
n the ' Messe k Jeanne d' Arc," which he declared
lis intention of composing on his knees in the
^Jathedral of Eheims on the stone on which Joan
>f Arc knelt at the coronation of Charles VII.
Chis work was first performed in the Cathedral



of Eheims, July 24, 1887, and in the church of
S. Eustache in Paris, Nov. 22, 1887, S. Cecilia's
Day. A fourth Messe Solennelle and a Te Deum
have jnst been published. When Verdi was made
grand officer of the Legion d'honneur in March
1880, Gounod received the same distinction (July
1880; ; and in January 1881 this title, a most
exceptional one for a composer, was conferred on
Ambroise Thomas. As neither one nor the other
has as yet obtained the 'grand croix,' there can
be no cause for jealousy. [See vol. iv. p. 104,
where correct statement in line 5 from end of
article Thomas.] [A.J.]

GOW, Neil. Add days of birth and death,
March 22, and March i. To the end of article
add that Nathaniel Gow, born at Inver, May 28,
1766, died in Edinburgh, Jan. 19, 1831, wrote
the song ' Caller Herrin'.' He held a position in
the fashionable world of Edinburgh similar to
that held by his father, and in his later years had
received a pension from George IV. His brother,
Neil, composed the songs * Flora Macdonald's
Lament ' and ' Bonnie Prince Charlie.' [M.]

GEABU, Lewis, or Louis Geabdt, or some-
times Grebus, a French musician, who came to
England about 1666, and finding favour with
Charles II., whose predilection for everything
French was unbounded, was assigned a promi-
nent place in the direction of the Court music, to
the great chagrin of John Banister, then ' Master
of the Music' Upon Oct. I, 1667, he produced
at Court an 'English Song upon Peace,' which
Pepys, who heard it, criticised very unfavourably,
although admitting, at the same time, that ' the
instrumental musick he had brought by practice to
play very just.' His incapacity both as performer
and composer were commented upon by Pelham
Humfrey (Pepys, Nov. 15,1667). His opera, 'Ari-
adne, or. The Marriage of Bacchus,' originally
composed to French text, was produced at Drury
Lane, adapted to English words, in 1674. He was
selected to compose the music for Dryden's opera,
'Albion and Albanius,' produced at Dorset
Garden, June 6, 1685, at great expense, but
performed for six nights only. It has been
asserted that its failure was occasioned by the
Duke of Monmouth's rebellion, the news of
which reached London on the last day it was
played : the real causes however were the innate
worthlessness of both drama and music. Both
were published, and readers may therefore judge
for themselves. Dryden, in his preface to the
piece bestowed some extravagant encomiums
upon Grabu, extolling him above all English
composers, but a few years later changed his
tone and awarded the palm to Purcell. A
satirical song upon the piece, ridiculing both
author and composer, is contained in Hawkins's
History (Novello's edition, 707). It is presumed
that Grabu lost his Court appointment at the
Revolution, but he seems to have remained in
England, as in 1690 he composed the instru-
mental music for Waller's alteration of Beaumont
and Fletcher's ' Maid's Tragedy.' A few songs
by him are contained in some of the collections
of the period. [W.H.H.]



GRADENER, Carl G. P., born Jan. 14,
1812, at Rostock, received his first musical
employment as a violoncellist at Helsingfors.
After three years he went to Kiel and was ap-
pointed Musikdirector to the University there, a
post which he retained for ten years. In 1851
he founded an academy for vocal music at Ham-
burg, and remained there until in 1S62 he was
appointed to teach singing and theory in the
Vienna Conservatorium. After three years he
returned to Hamburg, where the rest of his life
was spent. In 1S67 he joined F. W. Griind in
forming the Hamburger Tonkiinstlerverein, the
presidentship of which he held for some years.
As a composer of chamber music, the chief
interest of which centres in the ingenuity and
freshness of its harmonies and the excellence of
its form, he is justly esteemed. His works in-
clude two pianoforte quintets, two trios, three
string quartets, an octet, two symphonies, besides
a concerto, a sonata, and many pieces for the
piano. He died at Hamburg, June li, 1883.
His son Hermann, born May 8, 1 844, at Kiel,
entered the Vienna Conservatorium in 1S62 ; in
1864 was appointed organist at Gumpendorf,
and became a member of the court orchestra in
Vienna. In 1874 he was appointed teacher of
harmony, etc., in the Conservatorium, and in
18S2 received the title of Professor, In 1886
he became director of the academical society for
orchestral music, and of the academical Gesang-
verein. His compositions, though not numerous,
show very strong individuality. As in the case
of his father, he is at his best in chamber music ;
his piano quintet has been played in London
with success. His ' Lustspielouvertiire ' and an
octet for strings may also be mentioned. [M.]

GRAHAM, Georgk Faeqdhar. Line 3 of
article, yor in 1790 read Dec. 29, 1789.

GRAND OPERA. P. 617 a, 1. 19 from
bottom, for dramatic essay read essay in this
form of opera. P. 617 b, 1. 5, for ' La Favorite '
read ' Don Carlos.'

GRAND PIANO. For the third paragraph
of the article read as follows : — The Silbermann
pianos bought by Frederick the Great, still pre-
served at Potsdam (at the Town Palace, the
New Palace, and Sans Souci) are three in number,
and are of the grand form. They are copies of
the grand pianos by Cristofori dated 1720 and
1726, which are preserved at Florence. This
important fact was determined by the writer on
a special visit to Berlin in 1881. P. 618 a, 1. 15.
The actions here referred to are different. [See
Pianoforte.] Line 2^, for rather toSilbermaun's
ideal read to an early German action (not
Scliroeter's model) impi-oved upon by Stein. For
1. 4 from end of article, read Allen's tubes and
plates, patented in 1820. [A.J.H.]

GRAND PRIX DE ROME. In the list of
composers, under the year 1859, for Eugene read

Online LibraryGeorge GroveA dictionary of music and musicians (A.D. 1450-1889) by eminent writers, English and foreign : with illustrations and woodcuts (Volume 4) → online text (page 154 of 194)