Bow & Bridge Violin and bow makers, as the old books printed them

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Scan 252

A biographical dictionary of musicians, 1900

21 lines. Read by computer on 5 September 2026, twice; the two readings disagreed in places. Printed page 238. See the scan on archive.org.

1Orch. and teacher at the Cons., succeeding Hegyesi.
3Guarne'ri (latinized Guarne'rius), a famous family of violin-makers at Cremona, Italy.—Pietro Andrea, head of the family, b. abt. 1630, was a pupil of Nicolò Amati, and worked 1650–95. His violins, labelled Andreas Guarnerius Cremonae sub titolo Sanctae Theresiae 16—, are much inferior to those of his nephew, Gius. Antonio.—Giuseppe, son of the preceding, b. 1660, worked 1690–1730; his best instr.s are from 1690–1710. He imitated Stradivari models; his label was Joseph Guarnerius filius Andreae fecit Cremona sub titolo St. Theresiae 16—. Pietro, Andrea's second son, b. abt. 1670, worked in Cremona 1690–1700, then at Mantua till 1725.—Pietro, son of Giuseppe, worked 1725–40, and made violins and violoncelli after his father's models.—Giuseppe Antonio, known as Guarneri del Gesù from the "I H S" often appearing on his labels; b. June 8, 1683, d. abt. 1745. He was the most celebrated of the family; his father, though a brother of Andrea, was not an instr.-maker. He worked for himself 1725–45; the violins of his medium period vie with the best of Stradivari. His instr.s bear the label: Joseph Guarnerius, Andreae Neps Cremonae 17—, I H S. The violins of his later period are so poor as to raise doubts of their origin—a fact explained (?) by various legends, such as his having been driven to drink by an unfaithful wife, or having had, during a long term of imprisonment, to work with inferior materials.
5Gu'dehus, Heinrich, distinguished dramatic tenor; b. Altenhagen, Hanover, Mar. 30, 1845. His father was a village schoolmaster, and G. also taught in two seminaries for a time; but took singing-lessons at Brunswick of Frau Schnorr v. Karolsfeld, who sent him to the court Intendant von Hülsen, at Berlin, by whom he was eng. for the court opera for 3 years, from Sept. 1-1870. His début as Nadori (Jessonda), in Jan., 1871, was successful; but in 1872 he left Berlin to study with Louise Ress at Dresden; reappeared in public in 1875, singing at Riga, Lübeck, Freiburg (Baden), and Bremen (1878); sang at Dresden court opera 1880–90 (creating the rôle of Parsifal at Bayreuth, 1882), in German opera in New York 1890–91, and then rejoined the Berlin court opera.
7Guénin, Marie-Alexandre, violinist and comp.; b. Maubeuge (Nord), France, Feb. 20, 1744; d. Paris, 1819. Pupil of Capron (vln.) and Gossec (comp.) in Paris; 1777, mus. intendant to the Prince of Condé; 1778, member of the royal orch.; 1780–1800, solo violin at the Grand Opéra. A prolific comp. of mediocre talent (14 symphonies, 6 string-quartets, 18 vln.-duets, 6 sonatas f. 2 vlns., 1 concerto f. viola, 3 duets f. 'cello, and 3 sonatas f. clavecin and vln.).
9Guer'cia, Alfonso, comp. and singing-master; b. Naples, Nov. 13, 1831. Pupil, for comp., of Mercadante. Composed many popular songs, and a fairly succ. opera Rita (Naples, 1875); also sang baritone parts in opera for a time. Since 1859, teacher of advanced vocal students in the Collegio di San Pietro a Majella, Naples.
11Guérin, Emmanuel, called Guérin de Versailles, 1779; d. (?). In 1796, entered the Paris Cons.; 1799–1824, 'cellist at the Th. Feydeau; pensioned 1824.—Publ. numerous duets, variations, and sonatas, for one or two 'celli.
13Guerre'ro, Francisco, b. Sevilla, Spain, 1528; d. there 1599. Pupil of Morales; in 1546, maestro at Jaen cathedral, and 1550 choir-singer at Sevilla cath. Of his pilgrimage to Jerusalem in 1588 he wrote in "El viage de Jerusalem que hizo Fr. G. . . ." (1611). Publ. "Psalmorum 4 voc. liber 1, accedit missa defunctorum 4 voc." (1559; 2nd ed., w. Ital. title, 1584); "Canticum beatae Mariae quod magnificat nuncupatur, per 8 musicae modus variatum" (1563); "Liber 1. missarum" (1566; contains 9 masses and 3 motets); "Libro di Mottetti a 4, 5, 6 e 8 voci"; and 2 5-part Passione in Eslava's "Liro Sacro-Hispana." one of two readings
14Guerre'ro, Francisco, b. Sevilla, Spain, 1528; d. there 1599. Pupil of Morales; in 1546, maestro at Jaen cathedral, and 1550 choir-singer at Sevilla cath. Of his pilgrimage to Jerusalem in 1588 he wrote in "El viage de Jerusalem que hizo Fr. G. . . . " (1611). Publ. "Psalmorum 4 voc. liber 1, accedit missa defunctorum 4 voc." (1559; 2nd ed., w. Ital. title, 1584); "Canticum beatae Mariae quod magnificat nuncupatur, per 8 musicae modus variatum" (1563); "Liber 1. missarum" (1566; contains 9 masses and 3 motets); "Libro di Mottetti a 4, 5, 6 e 8 voci"; and 2 5-part Passione in Eslava's "Liro Sacro-Hispana." one of two readings
16Gueymard, Louis, fine dramatic tenor; b. Chapponay (Isère), France, Aug. 17, 1822; d. Corbeil, n. Paris, July, 1880. Pupil of Paris Cons.; eng. 1848–68 at the Grand Opéra.
18Gueymard, Pauline, née Lauters, wife of Louis; mezzo-soprano stage-singer; b. Brussels, Dec. 1, 1834, and trained in the Cons. there; début 1855 at the Th.-Lyrique, Paris; has sung, since 1855, at the Grand Opéra.
20Gugliel'mi, Pietro, celebrated and prolific dram. comp.; b. Massa di Carrara, Italy, in May, 1727 (1720 ?); d. Rome, Nov. 19, 1804. His first music-teacher was his father [Pietro G., m. di capp. to the Duke of Modena]; he then st. at Naples under Durante in the Cons. di S. Loreto; and brought out his first opera (?) at Turin in 1755. This was followed by nearly 200 more dramatic works; after conquering the principal Ital. stages, he acted for some years as Kapellm. to the Elector at Dresden (1762), then went to Brunswick, and from 1772–77 was in London. Returning to Naples, he found the operatic field occupied by two rivals, Paisiello and Cimarosa, and his own works nearly forgotten; but, by extraordinary efforts, he regained the public favor. His most noteworthy operas were I viaggiatori ridicoli (1772), La Frascatana (1773), La Serva innamorata (1778), La bella pescatrice (1779), I fratelli Pappa Mosca (1783), La pastorella nobile (1783), La Didone (1785), Enea e Lavinia (1785), I due gemelli (1787). App. maestro at the Vatican in 1793, he turned to church-music, composing the oratorios La morte d'Abele, Betulia liberata, La distruzione di Gerusalemme, Debora e Sisara (1794, considered by Zingarelli to be his masterpiece), and Le lagrime di S. Pietro; also an orchestral mass a 5, a Miserere a 5, a Psalm a 8, 6 divertisse-

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