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Scan 305
Baker's biographical dictionary of musicians, 1919
20 lines. Read by computer on 7 September 2026. No printed page number was found. See the scan on archive.org.
1GALLAY—GALLIGNANI
3Works: Horn-quartets, -trios, -duos; récréations, nocturnes, études and concertos for horn; and a Méthode complète de cor.
5Gallay, 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 Instrs. 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 Instruments des écoles italiennes, catalogue précédé d'une introduction 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 Instruments de Musique [à archet] (Paris, 1875).
7Gal'lenberg, Wenzel Robert, Graf von, b. Vienna, Dec. 28, 1783; d. Rome, March 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., for pf.—On one of his themes, Beethoven wrote a set of variations.
9Gallet'ti-Giano'li, Isabella, dramatic soprano; b. Bologna, Nov. 11, 1835; d. Milan, Aug. 31, 1901. Pupil of Gamberini; début Brescia, 1860. Her voice in later years changed to contralto. She sang prima-donna rôles in Don Bucefalo, Gemma di Vergy, Anna Bolena, Norma, Lucrezia Borgia, Semiramide, Il Trovatore, l'Africaine, Un Ballo in Maschera, Don Carlos, La Favorita, Le Prophète, etc. After retirement, she established a singing-school in Milan.
11Gal'li, Amintore, b. Talamello, near Rimini, Oct. 12, 1845; pupil of Mazzucato at Milan Cons., 1862–7; was music-director and school-director, then settled in Milan, where he was musical editor for Sonzogno, and critic of 'Il Secolo'; now (1916) ed. of 'Il Teatro Illustrato' and 'Musica Popolare.'—Works: The operas Il Corno d'oro (Turin, 1876), and David (Milan, 1904); oratorios Espiazione (after Moore's 'Paradise and Peri'), and Cristo al Golgata; Goethe's Totentanz for bar. solo and orch.; string-quintet in E m.; etc. Published Musica e Musicisti del secolo X sino ai nostri giorni (1871; a superficial work); Estetica della musica (1900; a riper work, on historical lines); Storia e teoria del sistema musicale (1901); Piccolo lessico di musica (1902).
13Galli-Marié, Célestine (née Marié de l'Isle), b. Paris, Nov., 1840; d. Vence, near Nice, Sept. 22, 1905. Dramatic mezzo-soprano. Her father, an opera-singer, was her only teacher. She made her début at Strassburg, 1859; sang in Toulouse, 1860, and in Lisbon, 1861 (Italian opera). Sang the Bohemian Girl at Rouen, 1862, with such success that she was immediately eng. for the Paris Opéra-Comique. Début there (1862) as Serpina in La Serva padrona. She created the rôles of Mignon (1866) and Carmen (1875), as well as the principal rôles in Lara, Le Capitaine Henriot, Fior d'Aliza, Robinson Crusoé, La Petite Fadette, Fantasio, Don César de Bazan, Piccolino, La Surprise de l'Amour. She sang in upwards of 20 operas from 1862–78, and again in 1883–5. She was not a remarkable singer, but an actress of extraordinary power.
15Galliard, 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 for 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.—See Q.-Lex.
17Gal'lico, Paolo, accomplished pianist; b. Trieste, May 13, 1868. When 15, he gave a recital at Trieste; then studied at Vienna Cons. under Julius Epstein, graduating at 18 with highest honors—first prize (gold medal), also the 'Gesellschafts' medal. After successful concerts in Italy, Austria, Russia, Germany, etc., he settled in New York in 1892 as concert-pianist and teacher.—Has publ. piano-pieces and songs; has also written an operetta, Johannistraum, and an opera, Harlekin.
19Gallignani [gahl-lēn-yah'nē], Giuseppe. b. Faenza, Sept. 1, 1851. Pupil of the Milan Cons.; m. di capp. at Milan Cath. and ed. of 'La Musica Sacra'; comp. of the operas Il Grillo del focolare (Genoa, 1873), Atala (Milan, 1876), Nestorio (ib., 1888), Quare? (ib., 1903); also wrote some excellent church-music and organ-pieces.
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