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Scan 392
Biographical dictionary of musicians, 1940
12 lines. Read by computer on 8 September 2026. Printed page 372. See the scan on archive.org.
1season until 1917. She then sang 4 more seasons at Covent Garden; toured the U. S. again as concert singer; returned to the stage with the German Grand Opera Co., 1929–31. On Nov. 11, 1892, she was married to Lieutenant Hans Tauscher. With a voice of great volume and purity she combined a stately presence and histrionic ability. Although famous chiefly as a Wagner singer, she actually sang about 40 rôles; her favorites were Isolde, Brünnhilde, Elisabeth, Aida and Santuzza.
3Gafo'rio (or Gafori, Gafuri, Gaffurio), Franchino (Latinized 'Franchinus Gafurius'; often simply 'Franchinus'), celebrated theorist; b. Lodi, Jan. 14, 1451; d. Milan, June 24, 1522. Intended for the church, he studied theology and music together; lived in Mantua, Verona, and (1477) Genoa; he formed an intimacy with the fugitive Doge Prospero Adorno, and fled with him to Naples. There he met various distinguished musicians, and held public disputation with Joh. Tinctoris, G. Guarne and B. Hycart. The plague and the Turkish invasion drove him to Lodi; he was choirmaster at Monticello for 3 years, made a short visit to Bergamo in 1483, and in 1484 became singer and master of the boys in Milan cath., and first singer in the choir of Duke Lodovico Sforza. In 1485 he also founded a music-school at Milan, which prospered.—Writings: Theoricum opus harmonicae disciplinae (Naples, 1480; 2nd ed. Milan, 1492, as Theoria musicae [facsimile reprint in 'Boll. bibliogr. mus.', Milan, 1934]); Practica musicae F. G. Laudensis … in IV libris (Milan, 1496; his magnum opus, with examples of mensural notation in block-print; other eds. 1497, 1502, '08, '12, '22); Angelicum ac divinum opus musicae materna lingua scriptum (ib., 1508); De harmonia musicorum instrumentorum opus (ib., 1518, with biography of G. by P. Meleguli); Apologia F. Gafurii musici adversus Ioannem Spatarium et complices musicos Bononienses (Turin, 1520; concerning the controversy between the Milanese and Bolognese schools.)—Cf. E. Prætorius, Die Mensuraltheorie des F. G. und der folgenden Zeit bis zur Mitte d. 16. Jahrh. (Leipzig, 1905); G. Cesari, Musica e Musicisti alla corte Sforzesca, in 'Riv. M. I.' XXIX (1922; with reprints); P. Hirsch, Bibliogr. d. mus.-theor. Drucke des F. G., in 'J. Wolf-Festschrift' (1924); A. Toni, F. G., in 'Musica d'oggi' (Mar., 1924); G. Zampieri, F. G. (Milan, 1925).
5Gagliano [gahl-yah'-], the name of a family of famous violin-makers at Naples. Alessandro, who worked from 1695–1725, was a pupil of Stradivari, and he, as well as his sons Nicola (1700–40) and Gennaro (1710–50), followed largely the Stradivari model. The instruments of Ferdinando (1736–81), a son of Nicola, exhibit less skilful workmanship than those of the older members of the family.
7Gaglia'no, Marco da, opera-composer; b. Gagliano, ca. 1575; d. Florence, Feb. 24, 1642. Was a pupil of L. Bati; 1608, became maestro at S. Lorenzo in Florence; 1609 canon, and 1614 Apostolic Protonotary. In 1607 he founded the 'Accademia degli Elevati.' G. was among the first composers to write in the 'stile rappresentativo', which he developed further by ornamentation, etc.—Publ. works: Dafne, 'opera in musica' (his most important work; first played at Mantua, 1608; publ. Florence, 1607, and reprinted, in shortened form, by R. Eitner in Bd. 10 of the 'Publikation älterer … Musikwerke'); La Flora, opera (with Peri; Florence, 1628); Due Messe, a 4, 5 (ib., 1594); 6 vols. of madrigals a 5 (1602–17); Sacrae cantiones (I a 6, with a mass, 1614; II a 1–6, with b. cont., 1622); Musiche a 1, 2, e 3 voci (Venice, 1615, with continuo); etc.—Reprints have been publ. by L. Torch in vol. IV of 'L'Arte Mus. in Italia' (2 madrigals and a Benedictus) and in 'Elegant Canzoni ed Arie ital. del secolo XVIII' (aria from La Flora), by L. Landshoff in 'Alte Meister des Bel Canto' (vol. I; sacred duet, Virgine chiara), and by A. Schering in Gesch. d. Musik in Beispielen (No. 175).—Cf. L. Piccianti, M. da G., in 'Gazzetta Mus. di Milano' (1843–44); E. Vogel, M. da G. Zur Geschichte des florentiner Musiklebens 1570–1650, in 'Vschr. f. M.-W.' (1899); A. Solerti, Musica … alla Corte Medicea (1905).—See Q.-Lex.
9Gagnebin [gah-n'yā-bān'], Henri, composer; b. Liége, Mar. 13, 1886, of Swiss parents; studied in Lausanne, Berlin, Geneva and at the Schola Cantorum, Paris, with d'Indy and Vierne; organist at the Église de la Rédemption, Paris (1910–16) and at St. Jean, Lausanne (1916–25); prof. at the Cons. in Lausanne; since 1926 dir. of the Cons., Geneva.—Cf. 'Revue musicale' (Jan., 1934).
11Gailhard [gah-yahr'], Pierre, b. Toulouse, Aug. 1, 1848; d. Paris, Oct. 12, 1918. He began his vocal studies in his native city, and entered the Paris Cons. in 1866; after one year of study under Révial he graduated in 1867, carrying off three first prizes; début at Op.-Comique, Dec. 4, 1867, as Falstaff in Thomas' Songe d'une nuit d'été; he immediately became a favorite, and in the four years of his engagement created the chief bass rôles in Offenbach's Vert-Vert, Semet's Petite Fadette and Auber's Rêve d'Amour. On Nov. 3, 1871, he made his début at the Opéra as Mephistopheles (Faust). At the height of his powers and success he gave up the stage when, in 1884, he accepted, jointly with M. Ritt, the management of the famous institution; on the appointment of M. Bertrand as suc-
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