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Scan 566
Baker S Biographical Dictionary Of Musicians, 1900
10 lines. Read by computer on 12 September 2026. Printed page 546. See the scan on archive.org.
1GEISLER — GEMINIANI
3Geisler, Paul, German conductor and composer; b. Stolp, Aug. 10, 1856; d. Posen, April 3, 1919. He was a pupil of his grandfather, who was a conductor at Marienburg, and also of Constantine Decker. As a conductor, Geisler was associated with the Leipzig musical theater (1881), A. Neumann's traveling Wagner company (1882); for the following two years he was conductor at Bremen. He lived in Leipzig and Berlin for most of his career before going to Posen, where he became director of the Cons. He wrote much music for the stage; his other work, including two cyclic cantatas, symphonic poems, and incidental stage music, is mostly in manuscript.
5Geistinger, Maria (Marie) Charlotte Cäcilia, Polish operetta singer; b. Graz, Styria, July 26, 1833; d. Rastenfeld, Sept. 29, 1903. She sang chiefly in Vienna, but also in Prague, Leipzig, Berlin, etc. In 1897 she made a successful appearance in New York.
7Gelinek (properly Jelinek), Joseph, composer; b. Seltsch, near Beraun, Bohemia, Dec. 3, 1758; d. Vienna, April 13, 1825. He studied philosophy in Prague and at the same time took lessons in music with Segert; became a good pianist (Mozart praised him); ordained priest in 1786, but did not abandon music; went to Vienna and settled there as a piano teacher; in 1795, became music master to Prince Esterhazy. He was a prolific composer; 92 opus numbers are listed in a catalogue issued by André; his fantasias, variations, and dances for piano were quite successful.
9Geminiani (jeh-mē-ñah'-nē), Francesco, Italian violinist and writer; b. Lucca (baptized Dec. 5), 1687; d. Dublin, Sept. 17, 1762. He studied with Corelli in Rome and Alessandro Scarlatti in Naples; in 1706 returned to Lucca and played violin in the town orch. In 1714 he went to London, where he won a reputation as a teacher and performer; in 1731 he presented a series of subscription concerts in London; in 1733 he went to Dublin, where he established a concert hall and gave concerts; in 1734 he returned to London; in 1740 he was briefly in Paris; he was again in Paris for a longer period between 1749 and 1755, when he went back once more to London; in 1759 he settled in Dublin, where he was music master to Count Bellamont. Both in London and Dublin he was financially successful; besides music, he was interested in art, and bought and sold pictures. As a virtuoso, Geminiani continued the tradition established by his teacher, Corelli, and made further advances in violin technique by the use of frequent shifts of position, and by a free application of double-stops. In his compositions, he adopted the facile method of the Italian school; he excelled particularly in brisk allegro movements. During his years in England and Ireland he made a determined effort to please English tastes; his works are often extremely effective, but his inherent talents fell far short of Corelli's, and in music history he remains but a secondary figure. He publ. the earliest known violin method, The Art of Playing on the Violin, which appeared anonymously in Pellerur's The Modern Musick Master, or the Universal Musician (London, 1730); it was later publ. under Geminiani's own name as The Compleat Tutor for the Violin; in 1751 a third ed. appeared under the original title; it was translated into French (Paris, 1752) and German (Vienna, 1785); a facsimile edition, prepared by D. D. Boyden, was publ. in 1952. This manual is extremely valuable because it sets forth the principles of violin playing as formulated by Corelli, with many of the rules still in common use. Other didactic publications by Geminiani comprise: Rules for Playing in a true Taste on the Violin, German Flute, Violoncello and Harpsichord (London, 1745); A Treatise on good Taste, being the second Part of the Rules (London, 1749); Guida Armonica o Dizionario Armonico being a Sure Guide to Harmony and Modulation (London, 1742; in French, 1756; in Dutch, 1756); A Supplement to the Guida Harmonica (London, 1745); The Art of Accompaniament [sic] or a new and well digested method to learn to perform the Thorough Bass on the Harpsichord (London, 1755); The Art of Playing the Guitar or Cittra, Containing Several Compositions with a Bass for the Violoncello or Harpsichord (London, 1760); also compiled The Harmonical Miscellany (London, 1758). His musical works (all instrumental) comprise: op. 1, 12 sonatas for violin and figured bass (1716); op. 2, 6 concerti grossi (1732); op. 3, 6 concerti grossi (1733); op. 4, 12 sonatas for violin and figured bass (1739); op. 5, 6 sonatas for cello and figured bass (1739); op. 6, 6 concerti grossi (1741); op. 7, 6 concerti grossi (1746); also 12 string trios and arrangements of Corelli's works for various instrumental combinations. The concerti grossi have been publ. in modern editions by P. Mies (op. 2, no. 2) in 'Musik im Haus' (1928); M. Esposito (op. 2, no. 2, arranged for string orch., London, 1927); H. J. Mo-
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