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Scan 324
Baker's Biographical Dictionary of Musicians, 1919
14 lines. Read by computer on 9 September 2026. Printed page 8. See the scan on archive.org.
1liturgia alemannica (1776, 2 vols.), Monumenta veteris liturgiae alemannicae (1777, 2 vols.), and Scriptores ecclesiastici de musica sacra potissimum (1784, 3 vols.); the last is still one of the most valued sources for the study of mus. history, being a collection of treatises by most noteworthy authors of the middle ages, given verbatim et litteratim—i.e., with all the mistakes of the several originals.—Cf. J. Bader, Fürstabt M. G. (Freiburg, 1875); A. Lamy, G. (Rheims, 1898).
3Gerhardt [gär'-], Elena, distinguished lieder-singer (contralto), b. Leipzig, Nov. 11, 1883. Pupil of Marie Hedmont at the Leipzig Cons., 1899–1903; début at Leipzig in 1903 in recital, with A. Nikisch at the piano; her success was such that she was offered an eng. at the Opera, where she appeared as Mignon and Charlotte (Werther) in 16 performances. But the stage had no allurements for her, and she devoted herself entirely to concert and oratorio, in which fields she soon was recognized as an artist of the first rank; on her first tour of America, in 1912, she was heard with all the great orchestras and in numerous recitals; since then she has been a regular visitor every season.
5Gericke [gā'ri-kēh], Wilhelm, b. Graz, Styria, April 18, 1845. He was a pupil of Dessoff in the Vienna Cons. 1862–5, and then became Kapellm. of the theatre at Linz; 1874, 2d Kapellm. of the Vienna court opera (w. Hans Richter); in 1880, succeeded Brahms as cond. of the 'Gesellschaftsconcerte,' and also conducted the Singverein. From 1884–9 he was cond. of the Boston (Mass.) Symphony Orch. (his successor was Nikisch); returning to Vienna, he resumed the direction of the 'Gesellschaftsconcerte' until 1895, when he was succeeded by R. v. Perger. From 1898–1906 he again cond. the Boston Symph. Orch., succeeding Emil Paur; since then he has been living in retirement in Vienna. G. is a remarkably fine conductor and an efficient drill-master.—Publ. works, several Lieder, choruses and piano-pieces.—In MS.: Operetta Schön Hännchen (Linz, 1865); a Requiem; a concert-overture for orch.; a septet, piano-quintet, string-quartet, piano-trio, 2 sonatas for vln. and pf., 2 ditto for piano, over 100 songs and choruses, etc.
7Ger'lach, Dietrich, celebrated music-printer of the 16th century at Nuremberg; succeeded Joh. v. Berg as Ulrich Neuber's partner in 1566 till the latter's death (1571); carried on the business alone until his decease in 1574, when his widow continued it till 1592. Catalogue of works from his press was publ. Frankfort-on-Main, 1609, by N. Stein.
9Ger'lach, Theodor, b. Dresden, June 25, 1861. Pupil of Fr. Wüllner; student in Berlin Univ. 1883; and attracted attention by a strong work, the cantata Luther's Lob der Musica. 1884, in Italy; 1885, Kapellm. in Sondershausen Th.; 1886, of German Opera in Posen. His Epic Symphony caused his app. as Hofkapellm. in Coburg, 1891. In 1894 Kapellm. at Kassel. After holding several other posts as Kapellm. (Dresden, 1905), he settled in Karlsruhe; now (1916) dir. of the 'Musikbildungsanstalt' there.—Works: Op. 1, Vars. (F) on orig. theme, f. 'cello and pf.; op. 3, Serenade for string-orch.; op. 7, Vaterlandslied for male ch., acc. by wind-instrs.; op. 9, 6 Lieder; op. 10, Bei fröhlicher Laune, 4 part-songs; op. 11, Alle Zeit treu bereit, military march; op. 12, Ein Blick ins Frauenherz, 3 Lieder; op. 13, 5 Patriotic Songs for male ch.; op. 14, Aus seliger Zeit, 10 songs for tenor w. pf.; also Eine Bismarckrose, for tenor or bass solo. A 3-act opera, Matteo Falcone, of which G. wrote text and music, was prod. at Hanover, 1898, with great success. His experiments with 'spoken opera,' Liebeswogen (Bremen, 1904) and Das Seegespenst (Altenburg, 1914), have not met with success, and are of doubtful value; he has tried the same principle (ordinary speech over an instrl. accomp.) in his Gesprochene Lieder.
11Ger'le, Hans, d. Nuremberg, 1570. He was well known, as early as 1523, as a violinist and maker of violins and lutes. His works in tablature are historically valuable.—See Q.-Lex.
13German, Edward, b. Whitchurch, Engl., Feb. 17, 1862. With great natural proclivities for music, he began serious study in Jan., 1880, under W. C. Hay at Shrewsbury; in Sept. he entered the R. A. M., studying organ (Steggall), violin (Weist Hill and Burnett), theory (Banister), and comp. and orchestr. (Prout), graduating with a symphony in E m.; he was elected Fellow of the R. A. M. in 1895. In 1888–9 he cond. the orch. at the Globe Th. for 7 months; here his incidental music to Richard Mansfield's production of King Richard III was so successful that Sir Henry Irving commissioned him to write the music to Henry VIII (1892). G. was now enabled to give up teaching, and to devote himself entirely to composition. His works occupy a high place among contemporary productions in Britain: 2 symphonies, in E m. and A m.; Gypsy Suite (1892); Suite in D m. (1895); English Fantasia Commemoration (1897); symphonic poem Hamlet (1897); Symph. Suite, The Seasons (1899); Rhapsody on March-themes (1902); Funeral March in D m. for orch.; Welsh Rhapsody (1904); Coronation March and Hymn (1911); Serenade, for voice, piano, oboe, clar., bassoon and horn; Pizzicato, The Guitar; Bolero for violin and orch.;—incidental music to Richard III (Globe Th., 1889), Henry VIII (Lyceum Th.,
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