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Scan 308
Baker's biographical dictionary of musicians, 1919
8 lines. Read by computer on 4 September 2026. Printed page 287. See the scan on archive.org.
1the C m. symphony appeared; its performance by Mendelssohn (together with the Nachklänge) at a Gewandhaus concert insured Gade a favorable reception in Leipzig, whither he went in 1843, and where he remained, after a brief sojourn in Italy, from 1844–8. An intimate of Schumann and Mendelssohn, his genius rapidly expanded in a congenial atmosphere; he repeatedly conducted the Gewandhaus concerts in Mendelssohn’s absence, and succeeded him as regular cond. at his death (Nov. 4, 1847); but on the outbreak of the Schleswig-Holstein war, in the spring of 1848, he returned to Copenhagen, where he thenceforward remained, saving a short visit to Birmingham, in 1876, to conduct his cantatas Zion and The Crusaders. At Copenhagen he assumed the conductorship of the Mus. Soc., and also a post as org.; in 1861 he succeeded Gläser as court conductor. An industrious composer, the foremost among the northern romanticists, and unsurpassed as a conductor, he wielded a commanding and highly beneficial influence over musical affairs in and far beyond the Danish capital. The title of Prof. was conferred on him by the King, and that of Dr. phil. (hon. c.) by the Univ. of C.; in 1886 he was made a Commander in the Order of Danebrog. In 1876 the Danish government voted him a life-pension. Despite more or less individual comparisons with Mendelssohn and Schumann, Gade’s style has originality of poetic conception, though it has been left to later composers to bring out in stronger relief the specific traits of Scandinavian folk-music; and he was a master of the art of instrumentation. Autobiographic Aufzeichnungen und Briefe, edited by Dagmar Gade (German transl. Basel, 1893); W. Behrend is preparing (1916) the first adequate biography of G.—Works:
3Op. 1, Nachklänge von Ossian, orchl. overture; op. 2, Frühlingsblumen, for piano; op. 3, Sange af Agnete og Havmande (Andersen); op. 4, Nordiske Tonebilleder, piano 4 hands; op. 5, Symphony No. 1, in C m.; op. 6, Sonata No. 1, for piano and vln., in A; op. 7, Im Hochlande, overture for orch., in D; op. 8, String-quintet in E m.; op. 9, Nine Lieder im Volkston, for 2 sopranis and piano; op. 10, Symph. No. 2, in E; op. 11, 6 songs for 4-pt. male ch.; op. 12, Comala, cantata for soli, ch. and orch.; op. 13, 5 part-songs for S. A. T. B.; op. 14, Overture No. 3, in C; op. 15, Symph. No. 3, in A m.; op. 16, Reiter-Leben (6 songs); op. 17, String-octet; op. 18, 3 Klavierstücke; op. 19, Aquarellen for pf. (2 bks.); op. 20, Symphony No. 4, in B♭; op. 21, Sonata No. 2, for piano and vln.; op. 22, 3 Tonstücke for organ; op. 23, Frühlingsphantasie, cantata; op. 24, 5 songs from Bilder des Orients; op. 25, Symphony No. 5, in D m.; op. 26, 5 songs for male ch.; op. 27, Arabeske for piano; op. 28, Sonata for piano, in E m.; op. 29, Pf.-trio Novelletten, in A m.; op. 30, Erikönigs Tochter (Elverskud), cantata for soli, ch. and orch.; op. 31, Volkslänze, Phantasiestücke for pf.; op. 32, Symphony No. 6, in G m.; op. 33, 5 Lieder for male chorus; op. 34, Idyllen for pf.; op. 35, Frühlingsbotschaft, cantata; op. 36, Der Kinder Christabend, for pf.; op. 37, Hamlet, concert-overture; op. 38, 5 songs for male chorus; op. 39, Michelangelo, concert-overture; op. 40, Die heilige Nacht, cantata; op. 41, 4 Fantasiestücke for pf.; op. 42, Pf.-trio in F; op. 43, Fantasiestücke for cl. or vln. w. piano; op. 44, String-quintet in Eb; op. 45, Symphony No. 7, in F; op. 46, Beim Sonnenuntergang, for ch. and orch.; op. 47, Symphony No. 8, in B m.; op. 48, Kalanus, cantata; op. 49, Zion, 'Concertstück' for bar. solo, ch. and orch.; op. 50, Die Kreuzfahrer (Crusaders), cantata; op. 51, Bilder des Jahres, for fem. ch. w. piano; op. 52, not publ.; op. 53, Novelletten, 4 pcs. for string-orch.; op. 54, Gefion, for soli, ch. and orch.; op. 55, Sommeritag auf dem Lande, 5 pcs. for orch.; op. 56, violin-concerto; op. 57, Aquarellen for pf.; op. 58, Novelletten for piano; op. 59, Sonata No. 3 for vln. and pf.; op. 60, Psyche, cantata; op. 61, Holbergiana, suite for orch.; op. 62, Sonata for vln. and pf., in B♭; op. 63, string-quartet in D; op. 64, Der Strom, 'Concertstück' for soli, ch. and orch.—Without op.-numbers were publ. Psalm 130, Funeral March for Frederick VII, Jubiläumsmarsch for Christian IX, Baldurs Traum (posth., 1897), and some minor pieces for pf.—His opera Mariotta was prod. at Copenhagen in 1850.
5Gadsby, Henry Robert, b. Hackney, London, Dec. 15, 1842; d. Putney, Nov. 11, 1907. Chorister at St. Paul’s 1849–58; pupil of Wm. Bayley, but chiefly self-taught. Org. at St. Peter’s, Brockley; in 1884 he succeeded Hullah as prof. of harm. at Queen’s College, London; was prof. at the Guildhall S. of M. from its foundation (1880) till his death. A leading English comp.—Works: Psalm cxxx; several cantatas (Alice Brand; The Lord of the Isle; Columbus; The Golden Legend; The Cyclops); music to Alcestis and Andromache, and Aminta; Festival Service in D, a 8; 3 symphonies (in A, C, and D); overtures (Andromeda, The Witches’ Frolic); orchestral scene The Forest of Arden; a string-quartet; Andante and Rondo for flute and piano; services, anthems, part-songs, etc.—Publ. a Supplemental Book of Exercises for sight-singers; and Harmony (1884).
7Gad’ski, Johanna (Emilia Agnes), dramatic soprano; b. Anclam, Pomerania, June 15, 1872; trained from her eighth year by Frau Schroeder-Chaloupka at Stettin. Début at Kroll’s Th., Berlin, in May, 1889, as Undine in Lortzing’s opera; sang during the summers of 1889–93 at Kroll’s, winter of 1890 in Mayence, of '91 in Stettin, of '92 in Bremen, and of '93–'94 in Berlin; concert-tours in Holland, 1894. On March 1, 1895, she made her Amer. début as Elsa with the Damrosch Opera Co., winning instant favor; during the next three seasons she continued there, singing Senta, Elisabeth, Eva, Sieglinde, and creating the rôle of Hester Prynne in Damrosch’s The Scarlet Letter (1896); from 1898–1904 she was a member of the M. O. H., and became one of the prime favorites through her superb interpretation of Brünnhilde and Isolde; from 1904–6 she made two transcontinental tours of the U. S., singing with orch. and establishing her reputation as a great lieder-singer; in 1907 she returned to the M. O. H., where she has sung every season since then. While America has been the principal field of her activity, she has also been heard in Cov. G. (1899–1901); in 1899
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