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Scan 464
Biographical dictionary of musicians, 1940
16 lines. Read by computer on 8 September 2026. Printed page 444. See the scan on archive.org.
1tains 9 4-5 vcd. masses and 3 4-8 vcd. motets); Motteta (1570); Missarum liber II (1582; contains 7 masses and a Missa pro defunctis); Liber vespararum (1584; includes 7 psalms, 24 hymns, 8 magnificats, a 5 vcd. Te Deum, etc.); Passionis . . . secundum Matthaeum et Joannem more Hispano (1585); Canciones y villanescas espirituales (1589; 8 a 3, 20 a 4, 33 a 5); Motecta liber II (1589), and Motecta (20 a 4, 11 a 5, 2 a 6, 2 a 8, 1 a 12, a 4 vcd. Missa Saeculorum Amen, etc.; 1597). Reprints have been made by Eslava (2 5-part Passiones) in 'Lira Sacro-Hispana' and by Pedrell in 'Hispaniae Schola musica sacra' (in vol. II: Magnificat 4-5 v. alternatim c. choro, Officium defunctorum 5-6 v., passions, antiphonals, etc.; in vol. VI: a Falso bordone). The Libro de música para vihuela, intitulado Orphénica Lyra of Miguel de Fuenllana contains some works by G., arr. for guitar (1554).—Cf. Raf. Mitjana, F. G. 1528-99. Estudio critico-biográfico (Madrid, 1922).—See also Q.-Lex.
3Guerri'ni, Guido, b. Faënza, Italy, Sept. 12, 1890; pupil of Consolini (vln.), and Torchi and Busoni (comp.) at the Liceo musicale at Bologna; 1919-23, prof. of harmony there; 1927, prof. of comp. at Parma Cons.; 1938, was living in Florence as dir. of the Music Cons. there.—Operas: Zalebi, Nemici, La vigna, Isora di Finale; orch. works: La Cetra d'Achille (after Pascoli); La befana; Visioni dell' antico Egitto (2 pieces); L'ultimo viaggio; chamber-music: Quintet; 2 str.-quartets; 2 trios; vln.- and vcl.-pieces; Le Suore, 3 pieces for harp; vocal works: Le fiamme su l'altare, for voice, double str.-quartet and 2 harps; songs.
5Guerri'ni, Paolo, b. Bagnolo Mella, near Brescia, Nov. 18, 1880; first prof. of history in Brescia; now librarian of Queriniana and dir. of Archivio storico civico. Specialist on the history of church-music. Has written essays on Brescian composers and contributed to all the important music magazines of Italy. Revised the music books of Cardinal Katschthaler (Storia della musica sacra; Storia della Cappella musicale del Duomo di Brescia e del Duomo di Salò; Storia della Musica sacra in Italia nei sec. XIX e XX).
7Guglielmi [gōöl-yel'mē], Pietro, celebrated and prolific dram. composer; b. Massa di Carrara, Italy, Dec. 9, 1728; d. Rome, Nov. 18, 1804. His first music-teacher was his father [Pietro G., m. di capp. to the Duke of Modena]; he then studied at Naples under Durante in the Cons. di S. Loreto; and brought out his first opera at Turin in 1755. This was followed by nearly 200 more dram. works; after conquering the principal Italian stages, he acted for some years as Kapellm. to the Elector at Dresden (1762), then went to Brunswick, and from 1772-7 was in Lon-
9don. Returning to Naples, he found the operatic field occupied by two rivals, Paisiello and Cimarosa, and his own works nearly forgotten; but, by extraordinary efforts, he regained the public favor. His most noteworthy operas were I Viaggiatori ridicoli (1772), La Frascatana (1773), La Serva innamorata (1778), La bella pescatrice (1779), I fratelli Pappa Mosca (1783), La Pastorella nobile (1783), La Didone (1785), Enea e Lavinia (1785), I due gemelli (1787). App. maestro at the Vatican in 1793, he turned to church-music, composing the oratorios La morte d'Abele, Betulia liberata, La distruzione di Gerusalemme, Debora e Sisara (1794, considered by Zingarelli to be his masterpiece), and Le lagrime di S. Pietro; also an orchestral mass a 5, a Miserere a 5, a Psalm a 8, 6 divertissements for clavichord, vln. and 'cello; pieces for clavichord; etc.—Cf. G. Bustico, P. G. (Massa, 1899); A. della Corte, L'opera comica ital. nel' 1700 (1923).—See also Q.-Lex.
11Gugliel'mi, Pietro Carlo, son of preceding (called Guglielmi'ni to distinguish him from his father); b. Naples, 1763; d. Massa di Carrara, Feb. 28, 1817. A pupil of the Cons. S. Maria di Loreto, he likewise became a noted opera-composer, producing 25 operas in Naples and Milan; lived several years as a vocal teacher in London; and circa 1810 became m. di capp. to the Duchess of Massa di Carrara.—Cf. Fr. Piovano, Notizie storico-bibliografiche sulle opera di P. C. G., con appendice su P. G., in the 'Riv. M. I.' XVI and XVII (1909-10).—Piovano publ. a list of G.'s operas in the 'Riv. M. I.' XII (1905).
13Gui, Vittorio, b. Rome, Sept. 14, 1885; pupil of Setaccioli and Falchi at the Liceo musicale di S. Cecilia; 1907, cond. at the Teatro Adriano, Rome, later holding similar posts in Parma, Naples (S. Carlo), Turin (Teatro Regio), Lisbon (T. San Carlos), Milan (Scala), etc.; also concert-cond. at the Augusteo, Rome; 1925, appointed dir. of the Teatro Torino; since 1938 cond. at Cov. Garden; his home is in Florence.—Works: Giulietta e Romeo, a symph. poem with voices (1902); Il tempo che fu (1910); Scherzo fantastico for orch.; Poema sinfonico corale, Fantasia bianca (1919; an orch. experiment making use of films); Giornata di Festa for orch. (1921); Fata Malerba (1923; Turin, 1927); a cantata with text from the Song of Songs for soli, chor. and orch.; also numerous songs and song-cycles with pf.-accompaniment. Has written many articles (collected and published as La Forza e i Suoni [Turin]).—Cf. G. Pannain, V. G., in 'Il Pianoforte' VIII, 7 (1927).
15Guidet'ti [gwē-], Giovanni, baptized Bologna, Jan. 1, 1531; d. Rome, Nov. 30, 1592. After taking holy orders, he became
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