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Scan 364
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.
1succ. opera Rita (Naples, 1875); also sang baritone parts in opera for a time. From 1859, teacher of advanced vocal students in the Collegio di San Pietro a Majella, Naples.
3Guérin [gā-rān'], Emmanuel, called Guérin aîné; b. Versailles, 1779; d. (?). In 1796, entered the Paris Cons.; 1799–1824, 'cellist at the Th. Feydeau; pensioned 1824.—Publ. numerous duets, variations, and sonatas for one or two 'celli.
5Guerrero [ger-rā'rōh], Francisco, b. Sevilla, Spain, May, 1527; d. there Nov. 8, 1599. Pupil of Morales; in 1546, maestro at Jaen cathedral, and 1550 choir-singer at Sevilla cath. Of his pilgrimage to Jerusalem in 1588 he wrote in El viage de Jerusalem que hizo Fr. G. . . . (1611). Publ. Psalmorum 4 voc. liber I, accedit missa defunctorum 4 voc. (1559; 2d ed., with Ital. title, 1584); Canticum beatae Mariae. . . . (1563); Liber I, missarum (1566; contains 9 masses and 3 motets); Libro di Motetti a 4, 5, 6 e 8 voci; and 2 5-part Passiones in Eslava's 'Lira Sacro-Hispaña.'—See Q.-Lex.
7Gueymard [gā-mahr'], Louis, fine dram. tenor; b. Chapponay (Isère), France, Aug. 17, 1822; d. Corbeil, n. Paris, July, 1880. Pupil of Paris Cons.; eng. 1848–68 at the Grand Opéra.
9Gueymard, Pauline, née Lautres, wife of Louis; mezzo-soprano stage-singer; b. Brussels, Dec. 1, 1834, and trained in the Cons. there; début 1855 at the Th.-Lyrique, Paris; sang, after 1855, at the Gr. Opéra.
11Guglielmi [gōōl-yel'mē], Pietro, celebrated and prolific dram. composer; b. Massa di Carrara, Italy, in May, 1727; d. Rome, Nov. 19, 1804. His first music-teacher was his father [Pietro G., m. di capp. to the Duke of Modena]; he then studied at Naples under Durante in the Cons. di S. Loreto; and brought out his first opera at Turin in 1755. This was followed by nearly 200 more dram. works; after conquering the principal Italian stages, he acted for some years as Kapellm. to the Elector at Dresden (1762), then went to Brunswick, and from 1772–7 was in London. Returning to Naples, he found the operatic field occupied by two rivals, Paisiello and Cimarosa, and his own works nearly forgotten; but, by extraordinary efforts, he regained the public favor. His most noteworthy operas were I Viaggiatori ridicoli (1772), La Frascatana (1773), La Serva innamorata (1778), La bella pescatrice (1779), I fratelli Pappa Mosca (1783), La Pastorella nobile (1783), La Didone (1785), Enea e Lavinia (1785), I due gemelli (1787). App. maestro at the Vatican in 1793, he turned to church-music, composing the oratorios La morte d'Abele, Betulia liberata, La distruzione di Gerusalemme, Debora e Sisara (1794, considered by Zingarelli to be his masterpiece), and Le lagrime di S. Pietro; also an orchestral mass a 5, a Miserere a 5, a Psalm a 8, 6 divertissements for clavichord, vln., and 'cello; pieces for clavichord; etc.—Cf. G. Bustico, P. G. (Massa, 1899).—See also Q.-Lex.
13Gugliel'mi, Pietro Carlo, son of preceding (called Guglielmi'ni to distinguish him from his father), b. Naples, 1763; d. Massa di Carrara, Feb. 28, 1827. A pupil of the Cons. S. Maria di Loreto, he likewise became a noted opera-composer, producing 25 operas in Naples and Milan; lived several years as a vocal teacher in London; and circa 1810 became m. di capp. to the Duchess of Massa di Carrara.
15Guidet'ti [gwē-], Giovanni, baptized Bologna, Jan. 1, 1531; d. Rome, Nov. 30, 1592. After taking holy orders, he became Palestrina's pupil, and in 1575 was appointed 'cappellano' (a clerical beneficiary) and chorister in the Papal choir. For several years he worked with Palestrina on a revised edition of the Gradual and Antiphonary; but this work being forestalled by the publication of Leichtenstein's edition (Venice, 1580), he turned his attention to other fields, and publ. Directorium chori ad usum sacro-sancta basilicæ Vaticana . . . (Rome, 1582, and other editions); Cantus eccl. passionis Domini Nostri Jesu Christi, secundum Matthæum, Marcum, Lucam et Joannem (Rome, 1586); Cantus eccles. officii majoris hebdomadae . . . (Rome, 1587; new ed. 1619); and Praefationes in cantu firmo . . . (Rome, 1588).—See Q.-Lex.
17Gui'do d'Arez'zo [gwhē'dōh dah-ret'sōh] (Guido Areti'nus), famous reformer of musical notation and vocal instruction. It was generally believed that he was born at Arezzo, Tuscany, circa 995. Dom G. Morin, in 'Revue de l'art Chrétien' (vol. iii, 1888), brings evidence that G. was educated in the monastery St. Maur des Fossés, near Paris, and makes it seem probable that he was born in that vicinity. [Some of his writings are quoted under the name 'Guido de Sancto Mauro'.] He died (probably) at Avellano, May 17, 1050. He became a monk in the Benedictine monastery of Pomposa, near Ferrara; here his superior musical ability, and especially his method of vocal teaching, aroused the envy of his fellow-monks, and even of the abbot; so that G. left the monastery and (according to some authorities) wandered from place to place, disseminating his new ideas, or (according to others) repaired to the Benedictine monastery of Arezzo. However this may be, his fame spread, and reached the ears of Pope John XIX, who called him to Rome, in order to learn his novel system of teaching. After this G. became (1029) Prior of the Camaldolite fraternity at Avellano, where he died.—After
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