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Scan 358
Baker's biographical dictionary of musicians, 1919
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1GRÜTZMACHER—GUERCIA
3Grützmacher, Leopold, brother of preceding; b. Dessau, Sept. 4, 1835; d. Weimar, Feb. 26, 1900. Pupil of Drechsler ('cello) and Schneider (theory), later of his brother; played in the Gewandhaus and theatre-orch. at Leipzig; then became 1st 'cello in the Schwerin court orch., and afterwards at the Prague 'Landestheater,' the Meiningen court orch., and 1876 at Weimar with the title of 'Kammervirtuos.'—Numerous comps. f. 'cello.
5Guadagni [gwäh-däh'ñē], Gaetano, a famous male contralto; b. Lodi (Vicenza, acc. to Burney), c. 1725; d. Padua, c. 1797. He began his career at Parma in 1747; the next year he sang in London with enormous success, and remained there till 1753; then he went to Paris and Versailles, and in 1755 studied with Gizziello in Lisbon; after he had there acquired the highest finish, he continued his triumphant tours through Europe till 1777, amassing a considerable fortune; he then settled in Padua, singing at the church of San Antonio. The MS. of an aria, Pensa a serbarmi, is in the library of Bologna; an aria written for Gluck's Orfeo was publ. in Bremner's 'The Favourite Songs in the opera Orfeo' (London, n. d.).
7Guarneri [gwäh-rnä'rē] (latinized Guarnerius), a famous family of violin-makers at Cremona, Italy.—Pietro Andrea, head of the family, b. c. 1630; d. Dec. 7, 1698; 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. Nov. 25, 1666; d. circa 1739; worked 1690–1730; his best instruments are from 1690–1710. He imitated Stradivari models; his label was Joseph Guarnerius filius Andreae fecit Cremonae sub titolo St. Theresiae 16—. Pietro, Andrea's second son, b. circa 1670, worked in Cremona 1690–1700, then at Mantua till 1725.—Pietro, son of Giuseppe, b. April 14, 1695; 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. Oct. 16, 1687; d. circa 1745. He was the most celebrated of the family; his father, though a brother of Andrea, was not an instrument-maker. He worked for himself 1725–45; the violins of his medium period vie with the best of Stradivari. His instruments bear the label Joseph Guarnerius, Andreae Nepos 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.—Cf. H. Petherick, Joseph Guarnerius, His Work and His Master (London, 1906); A. Pougin, Une famille de grands luthiers italiens; Lütgendorff, Die Geigen- und Lautenmacher vom Mittelalter bis zur Gegenwart (Frankfort, 1904; 2d augmented edition 1913).
9Gu'dehus, Heinrich, distinguished dram. tenor; b. Altenhagen, Hanover, March 30, 1845; d. Dresden, Oct. 9, 1909. 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 Louis 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. Almost every summer he took part in the Bayreuth festivals; he retired from the stage in 1900.
11Guénin [gā-nän'], Marie-Alexandre, violinist and composer; 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 for 2 vlns., 1 concerto for viola, 3 duets for 'cello, and 3 sonatas for clavecin and violin).
13Guéranger [gā-rähn-zhā'], Dom Prosper-Louis-Pascal, b. Sable-sur-Sarthe, Apr. 4, 1805; d. Solesmes, Jan. 30, 1875, as abbot of the Benedictine monastery there. His writings gave the impetus to and laid the foundations for the scholarly investigations leading to the restoration of the Gregorian melodies. In the accomplishing of this work the Benedictines of Solesmes have played a rôle of prime importance. G.'s writings are: Institutions liturgiques (3 vols., 1840–53; 2d ed. 4 vols., 1878–85; Ger. transl. by Fluck, 1854); L'année liturgique [cont. by Fromage] (15 parts, 1840–1901; Ger. transl. since 1874); Ste.-Cécile et la Société Romaine (1873; 8th ed. 1898).—Cf. Guépin, P. G. (Le Mans, 1876); Bibliographie des Bénédictins de la Congrégation de France (Solesmes, 1889); Chamard, G. et l'abbé Bernier (Angers, 1901).
15Guercia [gwär'chäh], Alfonso, comp. and singing-master; b. Naples, Nov. 13, 1831; d. 1890. Pupil, for comp., of Mercadante. Composed many popular songs, and a fairly
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