Books › A biographical dictionary of musicians. [With portraits from drawings in pen and ink, 1900 › scan 213
Scan 213
A biographical dictionary of musicians. [With portraits from drawings in pen and ink, 1900
24 lines. Read by computer on 3 September 2026. Printed page 201. See the scan on archive.org.
1(1814, with Boieldieu); La méprise (1814); La sérénade (1818); vocal romances and nocturnes.
3Galandia. See Garlandia.
5Galeaz'zi, Francesco, b. Turin, 1758; d. Rome in Jan., 1819. A skilful violinist, for 15 years leader of the concerts in the Teatro Valle, Rome; then violin-teacher at Aseoli. Publ. one of the earliest known Methods for violin: "Elementi teorico-pratici di musica, con un saggio sopra l'arte di suonare il violino . . ." (Rome, 1791, 1796, in 2 parts; Part I reprinted 1817).
7Galile'i, Vincenzo, celebrated musicograph, father of Galileo Galilei, the astronomer; b. Florence, abt. 1533; d. there abt. 1600. A skilful lutenist and violinist, and well-versed in ancient Greek theory, he was a prominent member of the artistic circle meeting at Count Bardi's house; his compositions for solo voice with lute-accomp. may be regarded as the starting-point of the monody successfully cultivated by Peri, Caccini, etc., the founders of the "opera in musica." A zealous advocate of (soi-disant) Grecian simplicity in contrast with contrapuntal complexity, he publ. a "Discorso della musica antica e della moderna" (Florence, 1581; to the 2nd ed. [1602] is appended a polemical "Discorso intorno alle opere di messer Gioseffo Zarlino di Chioggia," which had appeared separately in 1589); and "Il Fronimo, dialogo sopra l'arte del bene intavolare e rettamente suonare la musica . . ." (Venice, 1583; 2nd ed., 1584); all of considerable historical interest.
9Galin, Pierre, b. Samatan, Gers, France, 1786; d. Paris (?), Aug. 31, 1821. He was teacher of mathematics at the Lycée in Bordeaux, and conceived the idea of simplifying musical instruction by a method which he termed the "Mélopaste," and explained in his work "Exposition d'une nouvelle méthode pour l'enseignement de la musique" (1818; 2nd and 3rd ed. in 1824 and 1831). The method attracted attention, found warm advocates, and attained considerable popularity. [See Chevé and Paris.]
11Galitzin [ga-lē'-tsēn], Nicolas Borissovitch, a Russian prince who died at Kurski, 1866. To him Beethoven dedicated an overture (op. 124) and 3 quartets (op. 127, 130, 132); they also corresponded until the composer's death. The prince was an amateur of fine attainments, being a skilful 'cellist.
13Galitzin, Georg (Prince Galitzin), son of the preceding; b. St. Petersburg, 1823; d. there in Sept., 1872. He was Imperial Chamberlain. As a cultivated musician, he established in Moscow, in 1842, a choir of 70 boys; later he also maintained an orch., with which he travelled in Germany, England, France, and America, to introduce Russian music (more especially Glinka's and his own). He wrote masses, orchestral works, soli for various instr.s, choruses, songs, etc.
15Gallay, Jacques-François, b. Perpignan, Dec. 8, 1795; d. Paris, Oct., 1864. Brilliant horn-virtuoso; pupil (1820-21) of Dauprat in Paris Cons., where he took 1st prize. Player in the Odéon and (1825) Th. Italien; member of the royal "chapelle," and in 1832 chamber-musician to Louis Philippe; in 1842 he succeeded Dauprat as horn-prof. in the Cons.—Works: Horn-quartets, -trios, -duos; récréations, nocturnes, études, and concertos f. horn; and a "Méthode complète de cor."
17Gallay, Jules, b. Saint-Quentin, 1822; d. Paris, Nov. 2, 1897. A wealthy amateur, he became a good 'cello-player and a zealous student of lutherie in all its forms. To this study we owe the following valuable publications: "Les Instr.s à archet à l'Exposition universelle de 1867" (Paris, 1867); "Les luthiers italiens aux XVIIe et XVIIIe siècles, nouvelle édition du 'Parfait Luthier'(la Chélonomie) de l'abbé Sibire, suivie de notes sur les maîtres des diverses écoles" (Paris, 1869); a reprint of du Manoir's "Le mariage de la musique avec la danse," with hist. introd. and explan. notes (Paris, 1870); "Les instr.s des écoles italiennes, catalogue précédé d'une introd. et suivi de notes sur les principaux maîtres" (Paris, 1872). As a member of the jury at Vienna, 1873, he edited the "Rapport sur les instr.s de mus." [à archet] (Paris, 1875).
19Gal'lenberg, Wenzel Robert, Graf von, b. Vienna, Dec. 28, 1783; d. Rome, Mar. 13, 1839. An amateur composer in early youth, studying under Albrechtsberger. In 1803 he married Countess Giulietta Guicciardi (of whom Beethoven was enamoured, and to whom the Sonata Op. 27, No. 2 is dedicated). In Naples, shortly after, he made the acquaintance of Barbaja, a theatre-manager, wrote for him numerous successful ballets, and from 1821-3 was his partner when B. was director of opera in Vienna. He attempted the management of the Kärntnerthor Th. in 1829, but failed, and was obliged to return to Italy, rejoining Barbaja.—Works: About 50 ballets; a sonata, marches, fantasias, etc., f. pf.—On one of his themes, Beethoven wrote a set of variations.
21Galletius, Franciscus (real name François Gallet), b. Mons, Hainault, toward the middle of the 16th century; contrapuntal comp. at Douai; publ. "Sacrae cantiones 5, 6 et plurimum vocum . . ." (1586), and "Hymni communes Sanc-torum . . ." (1596).
23Galliard, Johann Ernst, b. Celle, Hanover, in 1687; d. London, 1749; pupil of A. Steffani at Hanover. A skilful oboist, he went to London, 1706, as chamber-mus. to Prince George of Denmark; succeeded Draghi as organist at Somerset House; and composed industriously. Besides the music to numerous plays, masques, and pantomimes, he wrote cantatas, a Te Deum, a Jubilate, anthems, soli f. flute and 'cello, etc.; and set to music the "Morning Hymn of Adam and Eve," from Milton's Paradise Lost, and Hughes' opera Calypso and Telemachus (1712). He also made some translations.
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