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Scan 322
Baker's Biographical Dictionary of Musicians, 1919
18 lines. Read by computer on 11 September 2026. Printed page 8. See the scan on archive.org.
1Meere, Der wilde Jäger, Der neue Tannhäuser; 2 'cycles' for soli, chorus and orch., Sansara and Golgatha; 4 Symphonische Fresken for orch.; orchestral episodes; songs; etc.
3Geis'tinger, Maria ['Marie'] Charlotte Cäcilia, b. Graz, Styria, July 26, 1836; d. Rastenfeld, Sept. 29, 1903. Brilliant operetta-singer (soprano), chiefly in Vienna, but also in Prague, Leipzig, Berlin, etc. In 1897 she sang with success in New York. Inimitable in Strauss rôles.
5Gelinek [gā'-], Hermann Anton (called Cervetti), b. Horzeniowecs, Bohemia, Aug. 8, 1709; d. Milan, Dec. 5, 1779. A priest in the Premonstrant Abbey at Seelau, who, wearied of monastic discipline, fled to Naples, where he assumed the name of Cervetti, and became noted as a violinist.—Publ. works: Violin-concertos and sonatas; church-music and organ-pieces in MS.
7Gelinek, Joseph, Abbé, b. Selcz, Bohemia, Dec. 3, 1758; d. Vienna, April 13, 1825. On Mozart's recommendation he became 'Claviermeister' (pf.-tutor) in the family of Count Kinsky, whom he followed to Vienna; here he publ. a vast number of variations, fantasias, etc., on popular themes (125 down to 1815), brilliant in sound, but of slight artistic value. G.'s chamber-music (trios, sonatas for vln., and for pf., etc.) is on a par with the above.—See Q.-Lex.
9Geminiani [jěh-mě-ñah'nē], Francesco, violinist and writer; b. Lucca, circa 1674; d. Dublin, Sept. 17, 1762. A pupil of Scarlatti, Corelli, and Lunati (called 'il Gobbo'); in 1714 he settled in London, where he won reputation as a teacher and concert-player; indeed, he is credited with having introduced into England an improved (simplified) system of violin-playing. He also publ. the earliest known violin-method, Art of Playing the Violin (1740; 2d ed. entitled The Entire New and Complete Tutor for the Violin . . . . French and German translations); further (but of minor importance) Lessons for the Harpsichord, Art of Playing the Guitar, Guida armonica (1742, English; also French and Dutch), Supplem. to the Guida armonica, Art of Accompaniment (1755), Rules for playing in a true taste on violin, German flute, violoncello, harpsichord . . . ., Treatise on Good Taste (1747), Treatise on Memory, The Harmonical Miscellany (1755).—Violin compositions (valuable): 12 solos (op. 1, 1716), 6 concertos (op. 2, 1735), 12 solos (op. 4, 1739), 6 concertos (op. 6, 1741), 6 do. (op. 7), 12 sonatas (op. 11, 1758), 12 trios for 2 vlns. and 'cello; also 6 solos for 'cello. (op. 5).—Sonatas Nos. 1, 2, and 7 are reprinted (arr. by G. Jensen); also some piano-pieces.—See Q.-Lex.
11Gemün'der, August, celebrated violin-maker; b. Ingelfingen, Württemberg, March 22, 1814; d. New York, Sept. 7, 1895. In 1846, he emigrated to Springfield, Mass., and establ. a shop. Went to New York about 1860. His reputation was second to that of no contemporary maker. Instrs. of his make were used by Wilhelmj and Brodsky; his copy of Sarasate's 'Amati' was pronounced by the owner equal to the original. After his death the business was continued by his four sons (August M., Rudolf F. [d. Leonia, N. J., July 8, 1916], Charles H. and Oscar A.) as 'August Gemünder & Sons.'
13Genast', Eduard Franz, baritone stage-singer; b. Weimar, July 15, 1797; d. Wiesbaden, Aug. 4, 1866. Début 1814 at Weimar as Osmin in Mozart's Entführung; 1828, director of Magdeburg theatre; 1829, accepted a life-engagement at the court theatre, Weimar. His most successful rôle was Don Giovanni.—Works: 2 operas, Die Sonnenmänner (Leipzig, 1828), and Die Verräther auf den Alpen (Weimar, 1833); songs; also publ. Aus dem Tagebuch eines alten Schauspielers (1862–6), 4 vols. of memoirs (after losing his singing-voice, he became an actor).—Of his two daughters the older, Doris (b. 1826; d. Munich, Nov. 7, 1912), became a celebrated actress, and married Joachim Raff (1859); the younger, Emilie (b. 1833; d. Weimar, March 5, 1905), achieved distinction as a concert-singer and teacher, being highly esteemed by Liszt.
15Genée [zhū-nā'], Franz Friedrich Richard, opera-composer; b. Danzig, Feb. 7, 1823; d. Baden, n. Vienna, June 15, 1895. At first a medical student, he took up music, and studied under Ad. Stahlknecht at Berlin; was theatre-Kapellm. (1848–67) at Reval, Riga, Cologne, Aix-la-Chapelle, Düsseldorf, Danzig, Mayence, Schwerin, Amsterdam, and Prague; from 1868–78, Kapellm. at the Th. an der Wien, Vienna, then retiring to his villa at Pressbaum, near Vienna. He wrote (some with F. Zell) several of his own libretti; he also wrote libretti for Strauss, Suppé, and Millöcker.—Operettas: Der Geiger aus Tirol (1857), Der Musikfeind (1862), Die Generalprobe (1862), Rosita (1864), Der schwarze Prinz (1866), Am Runenstein (with Fr. von Flotow, 1868), Der Seekadett (1876), Nanon (1877), Im Wunderlande der Pyramiden (1877), Die letzten Mohikaner (1878), Nisida (1880), Rossina (1881), Zwillinge (1885), Die Piraten (1886), Die Dreizehn (1887).
17Generali [jā-nā-rah'lē], Pietro (real name Mercandetti), b. Masserano, Piedmont, Oct. 12, 1782; d. Novara, Nov. 3, 1832. He studied under G. Massi at Rome, where he prod. his first opera, Gli Amanti ridicoli, in 1802. He brought out 51 more in the chief Italian cities, Lisbon, etc., the best being I baccanali di Roma (Venice, 1815). From 1817–1820 he was conductor in a Barcelona theatre, but
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