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Scan 390
Biographical dictionary of musicians, 1940
10 lines. Read by computer on 5 September 2026. Printed page 370. See the scan on archive.org.
1(a Canzona francese), by H. Bäuerle (Missa brevis; 1932), by W. Schöllgen (Easter motet; 1932), by A. Einstein in 'D.T.Ö.' Jg. XLI (3 madrigals a 6–8; 1934) and in the mus.-supplement (No. 21) of his A Short Hist. of Music (in Engl., 2nd ed. 1938). F. Liuzzi has made a transcr. (also an orchl. arr.) of G.'s 'cori' for Sophocles' Oedipus Rex and supplied the missing material.
3Gabrie'li (Gabrielli), Domenico (called the 'Minghino dal violoncello'), b. Bologna, ca. 1640; d. there, July 10, 1690. An excellent 'cellist; 1683–87, at S. Petronio, Bologna; 1676 member, 1683 president (principe), of the Philh. Acad. there. He prod. 9 operas, under his personal direction, at Bologna, Venice, Modena and Turin; also wrote concertos for small orch., comps. for vln. and bass and for vcl. Posthumous publs.: Cantate a voce sola (1691); Vexillum pacis (motets for vla. solo, with instrl. accomp.; 1695); Balletti, gighe, correnti e sarabande for 2 vlns. and vcl., with b. cont. (2nd ed. 1703).—L. Landshoff ed. [address hidden] with instrl. obblig. (in Alte Meister des Bel Canto; 1912) and 2 vcl.-sonatas (1930); A. Einstein printed a chamber-cantata in the mus.-supplement (No. 28) of his A Short Hist. of Music (in Engl., 2nd ed. 1938).—Cf. E. Albini, D. G., il Corelli del violoncello, in 'Riv. M. I.' XLI, 2 (1937).—See Q.-Lex.
5Gabrie'li, Giovanni, nephew and pupil of Andrea; b. Venice, 1557; d. there, Aug. 12, 1612. Celebrated organist and teacher; Heinrich Schütz was his pupil in 1609. From 1575–9 he lived in Munich; in 1584 he succeeded C. Merulo as first org. at San Marco's in Venice, where he remained till his death. As a composer, he stands at the head of the Venetian school; was the first to write vocal works with accomp. of instrl. groups in various combinations, i.e., a style of 'concerted' music that, subsequently, was to be so highly developed by Schütz and Bach. Of interest also, is the fact that one of his ricercari, a 4-part work in the 10th tone (1595), is the earliest real 'fugue with episodes' (reprinted, besides numerous other places, in H. Riemann's Musikgeschichte in Beispielen, No. 52 [Leipzig, 1913]).—Publ. works: Madrigali a 6 voci o istromenti (1585); Madrigali e ricercari a 4 voci (1587); Ecclesiasticae cantiones 4—6 vocum (1589); Sacrae symphoniae (a 6—16, for voices or instruments, 1587); Sacrae symphoniae, lib. II, 6—19 voc. (1615); Canzoni e sonate a 3—22 voci (1615). He also included works by his uncle Andrea (q. v.) in his colls., e.g., Canto concerti di Andrea et di Gio. G….a 6—16 (1587) and Intonazioni d'organo di A. G. et di Gio. G…. (1593); detached pieces in colls. up to 1620. Fine works for 2 and 3 chors. (cori spezzati).—G. Benvenuti has publ. 3 vocal pcs. in vol. I (1931) and a selection from the Sacrae symphoniae [1597] in vol. II (1932) of the 'Istituzioni e Monumenti dell' Arte Mus. Ital.' (Andrea e Giovanni G. e la mus. strumentale in S. Marco; Milan). Other reprints have been publ. by K. von Winterfeld in Johannes G. und sein Zeitalter (1834; 2 vols. and a vol. of mus.-supplements), by Proske, Griesbacher, Commer, etc. (motets), by J. v. Wasielewski in Gesch. der Instr.-Musik im 16. Jahrh. (1878) and in the mus.-supplement of Die Violine im 17. Jahrh. (2nd ed. 1905), by H. Riemann in Alte Kammermusik (Sonata a [address hidden] and Canzona a 8), by L. Torchi in 'L'Arte Mus. in Italia' (vols. II, III), by H. Besseler in Blume's Das Chorwerk (3 motets), by A. Schering in Gesch. der Musik in Beispielen (Nos. 130, 148), by G. Tagliapietra in Antologia di mus. antica e moderna per pf. (vol. II; 1931), by A. Einstein (Canzoni a 4; Schott, 1933), by W. Danckert (Sonata for 3 vlns. and b. cont.; 1934), by A. Einstein in the mus.-supplement (No. 19) of his A Short Hist. of Music (in Engl., 2nd ed. 1938). H. David has adapted several of G.'s canzoni for modern use.—Cf. A. G. Ritter, Gesch. des Orgelspiels im 14.—18. Jahrh. (1884; rev. by Frotscher, 1933); H. Leichtentritt, Gesch. der Motette (1908); O. Kinkeldey, Orgel und Klavier in der Musik des 16. Jahrh. (1910; p. 264 ff.).—See Q.-Lex.
7Gabriel'li, conte [Count] Nicolò, born Naples, Feb. 21, 1814; d. Paris, June 14, 1891. Pupil of Buonamici, Conti, Donizetti, and Zingarelli, at Naples Cons.; from 1854 he lived in Paris.—Works: 22 operas and 60 ballets, prod. at Naples, Paris, Lyons, Vienna, etc., none of which merits special mention.
9Gabrilovitch [Gabrilowitsch], Ossip Solomonovitch, notable pianist and conductor; b. St. Petersburg, Feb. 7, 1878; d. Detroit, Sept. 14, 1936. From 1888–94 he was a pupil of the St. P. Cons., studying pf. with A. Rubinstein and comp. with Navrátil, Liadov and Glazunov; graduated as winner of the Rubinstein Prize, and then spent the following two years (1894–6) in Vienna under Leschetizky; début at Berlin, Oct., 1896; then followed successful tours of Germany, Austria, Russia, France and England; on his first American tour (1900; début Carnegie Hall, N. Y., Nov. 12) he was eminently succ., and deepened the favorable impression on subsequent visits (1901, '06, '09, '14, '15, '16). During 1912–13 he perf., in several European capitals, a series of six historical concerts illustrating the development of the piano-concerto from Bach to the present day (18 concertos by Bach, Mozart, Beethoven, Weber, Mendelssohn, Schumann, Chopin, Liszt, Rubinstein, Tchaikovsky, Brahms, Franck, Saint-Saëns, Grieg, Rachmaninov); on his Amer. tour 1914–15 he repeated the entire series in
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