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Scan 463
Biographical dictionary of musicians, 1940
12 lines. Read by computer on 8 September 2026, twice; the two readings disagreed in places. Printed page 443. See the scan on archive.org.
1Guarneri [gwäh-r-nā’rē] (latinized Guarnerius), a famous family of violin-makers at Cremona, Italy.—Pietro Andrea, head of the family, b. 1626; d. Dec. 7, 1698; was a pupil of Nicolò Amati, and worked 1650–95. His violins, labelled Andreas Guarnerius Cremonae sub titolo Santae Theresiae 16—, are much inferior to those of his nephew, Gius. Antonio.—Giuseppe, son of the preceding, b. Nov. 25, 1666; d. circa 1739; worked 1690–1730; his best instruments are from 1690–1710. He imitated Stradivari models; his label was Joseph Guarnerius filus Andreas fecit Cremonae sub titolo St. Theresiae 16—. Pietro, Andrea’s second son, b. Feb. 18, 1655, worked in Cremona 1690–1700, then at Mantua till 1725.—Pietro, son of Giuseppe, b. April 14, 1695; worked 1725–40, and made violins and violoncelli after his father’s models.—Giuseppe Antonio, known as Guarneri del Gesù from the ‘I H S’ often appearing on his labels; b. Oct. 16, 1687; d. circa 1745. He was the most celebrated of the family; his father, though a brother of Andrea, was not an instrument-maker. He worked for himself 1725–45; the violins of his medium period vie with the best of Stradivari. His instruments bear the label Joseph Guarnerius, Andreae Neps Cremonae 17—, I. H. S. The violins of his later period are so poor as to raise doubts of their origin—a fact explained (?) by various legends, such as his having been driven to drink by an unfaithful wife, or having had, during a long term of imprisonment, to work with inferior materials.—Cf. G. de Piccolellis, Liutai antichi e moderni, genealogia degli Amati e dei Guarnieri (Florence, 1886); Lütgendorff, Die Geigen- und Lautenmacher vom Mittelalter bis zur Gegenwart (Frankfort, 1904; 4th ed. 1922, in dictionary-form); H. Petherick, Joseph Guarnerius, His Work and His Master (London, 1906); A. Pougin, Une famille de grands luthiers italiens; W. H. Hill, The Violin-Makers of the G.-Family (London, 1931). one of two readings
2Guarneri [gwäh-r-nā’rē] (latinized Guarnerius), a famous family of violin-makers at Cremona, Italy.—Pietro Andrea, head of the family, b. 1626; d. Dec. 7, 1698; was a pupil of Nicolò Amati, and worked 1650–95. His violins, labelled Andreas Guarnerius Cremonae sub titolo Santae Theresiae 16—, are much inferior to those of his nephew, Gius. Antonio.—Giuseppe, son of the preceding, b. Nov. 25, 1666; d. circa 1739; worked 1690–1730; his best instruments are from 1690–1710. He imitated Stradivari models; his label was Joseph Guarnerius filus Andreæ fecit Cremonæ sub titolo St. Theresiae 16—. Pietro, Andrea’s second son, b. Feb. 18, 1655, worked in Cremona 1690–1700, then at Mantua till 1725.—Pietro, son of Giuseppe, b. April 14, 1695; worked 1725–40, and made violins and violoncelli after his father’s models.—Giuseppe Antonio, known as Guarneri del Gesù from the ‘I H S’ often appearing on his labels; b. Oct. 16, 1687; d. circa 1745. He was the most celebrated of the family; his father, though a brother of Andrea, was not an instrument-maker. He worked for himself 1725–45; the violins of his medium period vie with the best of Stradivari. His instruments bear the label Joseph Guarnerius, Andreæ Neps Cremonæ 17—, I. H. S. The violins of his later period are so poor as to raise doubts of their origin—a fact explained (?) by various legends, such as his having been driven to drink by an unfaithful wife, or having had, during a long term of imprisonment, to work with inferior materials.—Cf. G. de Piccolellis, Liutai antichi e moderni, genealogia degli Amati e dei Guarnieri (Florence, 1886); Lütgendorff, Die Geigen- und Lautenmacher vom Mittelalter bis zur Gegenwart (Frankfort, 1904; 4th ed. 1922, in dictionary-form); H. Petherick, Joseph Guarnerius, His Work and His Master (London, 1906); A. Pougin, Une famille de grands luthiers italiens; W. H. Hill, The Violin-Makers of the G.-Family (London, 1931). one of two readings
4Gu’dehus, Heinrich, distinguished dram. tenor; b. Altenhagen, Hanover, March 30, 1845; d. Dresden, Oct. 9, 1909. His father was a village schoolmaster, and G. also taught in two seminaries for a time; but took singing-lessons at Brunswick of Frau Schnorr v. Karolsfeld, who sent him to the court Intendant von Hülsen, at Berlin, by whom he was eng. for the court opera for 3 years, from Sept. 1, 1870. His début as Nadori (Jessonda), in Jan., 1871, was successful; but in 1872 he left Berlin to study with Louis Ress at Dresden; reappeared in public in 1875, singing at Riga, Lübeck, Freiburg (Baden), and Bremen (1878); sang at Dresden court opera 1880–90 (creating the rôle of Parsifal at Bayreuth, 1882), in German opera in New York 1890–91, and then rejoined the Berlin court opera. Almost every summer he took part in the Bayreuth festivals; he retired from the stage in 1900.
6Guen’ther, Felix, b. Trautenau, Austria, Dec. 5, 1886; studied at the Cons. of Music in Vienna (grad., 1905) and at the Univ. of Berlin (Dr. phil., 1913); since 1903 has made world tours as accompanist of outstanding singers and instrumentalists; lived for a time in Berlin as accompanist, chamber-music player and writer, also associated, in various musical capacities, with broadcasting stations, record companies, etc., there; 1924–26, prof. at the Humboldt Hochschule, Berlin; 1926–33, prof. at the Popular Univ. of the City of Berlin; 1937, came to the U. S. as teacher at Queens Coll. of the City of N. Y. and choirmaster of the Interscholastic Glee Club, N. Y. Has publ. Weingartner, a Monograph (Berlin, 1918); Schuberts Lied (Stuttgart, 1928); Mein Freund Schubert (Hamburg, 1928); and many articles. one of two readings
7Guen’ther, Felix, b. Trautenau, Austria, Dec. 5, 1886; studied at the Cons. of Music in Vienna (grad., 1905) and at the Univ. of Berlin (Dr. phil., 1913); since 1903 has made world tours as accompanist of outstanding singers and instrumentalists; lived for a time in Berlin as accompanist, chamber-music player and writer, also associated, in various musical capacities, with broadcasting stations, record companies, etc., there; 1924–26, prof. at the Humboldt Hochschule, Berlin; 1926–33, prof. at the Popular Univ. of the City of Berlin; 1937, came to the U. S. as teacher at Queens Coll. of the City of N. Y. and choir-master of the Interscholastic Glee Club, N. Y. Has publ. Weingartner, a Monograph (Berlin, 1918); Schuberts Lied (Stuttgart, 1928); Mein Freund Schubert (Hamburg, 1928); and many articles. one of two readings
9Guéranger [gā-rāhn-zhā’], Dom Prosper-Louis-Pascal, b. Sable-sur-Sarthe, Apr. 4, 1805; d. Solesmes, Jan. 30, 1875, as abbot of the Benedictine monastery there. His writings gave the impetus to and laid the foundations for the scholarly investigations leading to the restoration of the Gregorian melodies. In the accomplishing of this work the Benedictines of Solesmes have played a rôle of prime importance. G.’s writings are: Institutions liturgiques (3 vols., 1840–53; 2d ed., 4 vols., 1878–85; Ger. transl. by Fluck, 1854); L’Année liturgique [cont. by Fromage] (15 parts, 1840–1901; Ger. transl. since 1874); Ste.-Cécile et la Société Romaine (1873; 8th ed. 1898).—Cf. Guépin, P. G. (Le Mans, 1876); Bibliographie des Bénédictins de la Congrégation de France (Solesmes, 1889); Chamard, G. et l’abbé Bernier (Angers, 1901); anon., Dom G., abbé de Solesmes (2 vols., Paris, 1926).
11Guerrero [gär-rā’rōh], Francisco, b. Sevilla, Spain, May, 1528; d. there, Nov. 8, 1599. Pupil of his brother Pedro and, for a short time, of Morales; in 1546, maestro at Jaen cathedral, and 1550 choir-singer at Sevilla cath.; 1554, qualified for the post of m. di capp. at Malaga cath., but never assumed his duties there. Of his pilgrimage to Jerusalem in 1588 he wrote in El viage de Jerusalem que hizo Fr. G. . . . (1611). One of the most prominent Spanish composers of his period, although not considered the equal of Victoria or Morales. Publ. Sacrae cantiones vulgo moteta, 4–5 vcd. (14 a 4, 18 a 5; 1555), Psalmorum 4 voc. liber I, accedit Missa defunctorum 4 voc. (1559; 2nd ed., with Ital. title, 1584); Canticum beatae Mariae quod Magnificat nuncupatur, per octo musicae modos variatum (1563); Liber I missarum (1566; con-
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