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Scan 306
Baker's biographical dictionary of musicians, 1919
16 lines. Read by computer on 4 September 2026, twice; the two readings disagreed in places. Printed page 285. See the scan on archive.org.
1the Royal Library from 1852; from 1858, flute-teacher in the Cons. A profound student of history, he publ. Beiträge zur Gesch. d. königlich sächs. musikalischen Capelle (1849); Zur Gesch. d. Musik u. des Theaters am Hof zu Dresden (1861–2, 2 vols.) [a Supplement, by Dr. Hans v. Brescius, entitled Die Königl. Sächs. musikalische Kapelle von Reissiger bis Schuch, 1826–98, was publ. at Dresden, 1898]; Die Fabrication musikalischer Instrumente im sächsischen Vogtland (1876, with Th. Berthold); also essays and articles in musical journals, in 'Mittheilungen des kgl. sächs. Alterthumsvereins,' in Mendel's 'Musikal. Conversations-Lexikon,' etc.
3Fürst'ner, Adolf, b. Berlin, April 3, 1833; d. Bad Nauheim, June 6, 1908. Founded (1868) a music-publishing house in Berlin; also purchased (1872) the business of C. F. Meser in Dresden (publisher of Wagner's Rienzi, Fl. Holländer, and Tannhäuser); publisher of all the dramatic works of R. Strauss.
5Fux [fʊks], Johann Joseph, composer and learned theorist; b. Hirtenfeld, Upper Styria, in 1660; d. Vienna, Feb. 14, 1741. Nothing definite is known concerning his teachers or course of study. In 1696 he was app. organist at the Schottenkirche, Vienna; in 1698 he was made court comp.; in 1704 Kapellm. at St. Stephen's, and asst.-Kapellm. to the court in 1713, succeeding Ziani as first Kapellm. (the highest position attainable for a musician) in 1713. This office he held until his death, under 3 successive emperors, and received many marks of imperial favor. His extant works number 405; very few have been published. The one best known is his treatise on counterpoint, Gradus ad Parnassum, publ. originally in Latin (Vienna, 1725), since then in German, Ital., Fr., and Engl. (1791). Mozart and Haydn studied it; Cherubini and Albrechtsberger adopted its method, which was sanctioned by Piccinni, Martini, and Vogler; yet it did not recognize the modern system of tonality already established when it was issued, but was grounded on the old church-modes.—His compositions include 18 operas; 10 oratorios; 29 partitas (among them the Concentus musico-instrumentalis, a 7); overtures; much sacred music: 50 masses (the Missa canonica is a contrapuntal masterpiece); 3 requiems, 2 Dies irae, 57 vespers and psalms, etc., etc.; and 38 'sacred sonatas' a 3 (lost). A selection from his works is publ. in 'Dkm. d. Tonk. in Österreich,' vol. i, 1 (4 masses), vol. ii, 1 (27 motets), vol. ix, 2 (2 sacred sonatas, 2 overtures), vol. xvii (the opera Costanza e forzezza).—Cf. L. von Köchel, J. J. F. (Vienna, 1872; full biog. and thematic cat. of works); C. Schnabl, J. J. F., der österreichische Palestrina, in 'Jahrb. der Leo Gesellschaft' (Vienna, 1895).—See Q.-Lex.
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8Ga'briel, Max, Kapellm. 1890 in Residenz-Th. at Hanover; has prod. the 3-act operetta Steffen Langer (Magdeburg, 1889; succ.); 3-act operetta Der Freiwerber (Hanover, 1890; succ.); operetta Der Garde-Uhlan (Breslau, '92; succ.; in Berlin, 1893, as Der Garde-Husar).
10Ga'briel, Mary Ann Virginia, composer; b. Banstead, Surrey, Engl., Feb. 7, 1825; d. London, Aug. 7, 1877. A pupil of Pixis, Döhler, Thalberg and Molique. Married Geo. E. March, who wrote most of her libretti.—Works: 3 cantatas, Evangeline, Dreamland, and Grasiella; 5 operettas, Widows Bewitched, Grass Widows, Shepherd of Cornouailles, Who's the Heir? and A Rainy Day; pf.-pieces, part-songs, and many songs.
12Gabrie'li, Andrea, b. Venice (Canareggio quarter), c. 1510; d. there 1586. A pupil of Adrian Willaert (the founder of the Venetian school); chorister at S. Marco in 1536, and in 1566 succeeded Claudio Merulo as second org. The most eminent org. of his time, he had many distinguished pupils: his nephew Giovanni, Hans Leo Hassler, and Jan Pieter Sweelinck (?) (founder of the North German school of organists). He was a prolific comp., many works being still extant: Sacrae cantiones a 5 (1565; 2d ed. 1584); Cantiones ecclesiasticae a 4 (1576; 2d ed. 1589); Cantiones sacrae a 6–16 (1578); masses a 6 (1570); Psalmi poenitentiales 6 vocum (1583); Canzoni alla francese per l'organo (1571 and 1605); sonatas a 5 (1586); and 7 books of madrigals a 3–6 (publ. between 1572–88); Giovanni Gabrieli publ. many of his organ-pieces in the 'Intonazioni d'organo' (1593), 'Ricercari per l'organo' (1595), three vols.; also vocal music in the 'Canti concertati' a 6–16 (1587). Detached pieces are in P. Phalèse's 'Harmonia celeste' (1593), 'Symphonia angelica' (1594), and 'Musica divina' (1595); a sonnet, in Zuccarini's 'Corona di dodeci sonetti' (1586). His festival songs for double chorus, for the reception of Henry III of France (1574), are in Gardane's 'Gemme musicali' (1587).—See Q.-Lex. one of two readings
13Gabrie'li, Andrea, b. Venice (Canareggio quarter), c. 1510; d. there 1586. A pupil of Adrian Willaert (the founder of the Venetian school); chorister at S. Marco in 1536, and in 1566 succeeded Claudio Merulo as second org. The most eminent org. of his time, he had many distinguished pupils: his nephew Giovanni, Hans Leo Hassler, and Jan Pieter Sweelinck (?) (founder of the North German school of organists). He was a prolific comp., many works being still extant: Sacrae cantiones a 5 (1565; 2d ed. 1584); Cantiones ecclesiasticae a 4 (1576; 2d ed. 1589); Cantiones sacrae a 6–16 (1578); masses a 6 (1570); Psalmi poenitentiales 6 vocum (1583); Canzoni alla francese per l'organo (1571 and 1605); sonatas a 5 (1586); and 7 books of madrigals a 3–6 (publ. between 1572–88); Giovanni Gabrieli publ. many of his organ-pieces in the 'Intonazioni d'organo' (1593), 'Ricercari per l'organo' (1595), three vols.; also vocal music in the 'Canti concertati' a 6–16 (1587). Detached pieces are in P. Phalèse's 'Harmonia celeste' (1593), 'Symphonia angelica' (1594), and 'Musica divina' (1595); a sonnet, in Zuccarini's 'Corona di dodici sonetti' (1586). His festival songs for double chorus, for the reception of Henry III of France (1574), are in Gardane's 'Gemme musicali' (1587).—See Q.-Lex. one of two readings
15Gabrie'li, Domenico (called 'the Meneghino del violoncello'), b. Bologna, c. 1640; d. Modena, July 10, 1690. An excellent 'cellist; for several years maestro at the Ch. of S. Petronio, and (1683) president (principe) of the Philharm. Acad., Bologna. He prod. 9 operas; 2 at Bologna and 7 at Venice. Posthumous publications: Cantate a voce sola (1691), Vexillum pacis (motets for viola sola, with instrl. accomp.; 1695); and Balletti, gighe, correnti e sarabande for 2 vlns. and 'cello, with basso continuo (2d edition 1703).—See Q.-Lex.
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