Scan 241
Dictionary of music and musicians : American supplement …, 1920
25 lines. Read by computer on 11 September 2026. Printed page 217. See the scan on archive.org.
1is also active in the M. T. N. A., and since 1919 has been the efficient editor of its Proceedings. He has written Music-Notation and Terminology, 1916, Essentials in Conducting, 1919, an Introduction to School Music-Teaching, 1919, and many articles on various phases of music-education. [ R.9 ]
3GEIB, JOHN and ADAM. See Register, 3.
4GEIBEL, ADAM (b. 1855). See Register, 7.
5GEIGER, AUGUST (d. 1910). See Colleges, 2 (Brenau C., Ga.).
7GEMÜNDER, AUGUST MARTIN LUDWIG (Mar. 22, 1814, Ingelfingen, Württemberg : Sept. 7, 1895, New York), with his brother, was trained as a violin-maker by his father. In 1846 he came to Springfield, Mass., establishing a business which about 1852 became famous at New York. His instruments won first prizes at London in 1851, at Paris in 1867 and at Vienna in 1873, and have been used by the greatest players. The business was continued by four sons. [ R.4 ]
9GEMÜNDER, GEORG (1816–1899). See Register, 4.
11GENSS, HERMANN (b. 1856). See Register, 8.
13GERHART, I. See TUNE-BOOKS, 1818.
14GERICKE, WILHELM (Apr. 18, 1845, Graz, Styria). See article in Vol. ii. 159. His second engagement as conductor of the Boston Symphony Orchestra was in 1898–1906, and he then returned to Vienna, retiring from musical activity. He showed an increased sympathy for modern music in his later years at Boston, without losing that 'passion for perfection' for which he was noted. To the list of his compositions are to be added a septet, a string-quartet, two sonatas for violin and piano and two for piano, a piano-quintet and trio, and a suite for orchestra. He has also orchestrated three sonata-movements of Bach and provided additional accompaniments for Handel's 'Judas Maccabæus.' [ R.7 ]
16GERMAN SINGING–SOCIETIES. Ritter, in his Music in America, lays just emphasis upon the zeal with which German immigrants early organized choral societies, originally for men's voices only. The New York Liederkranz was started in 1847, and from it diverged in 1854 the Arion. About the same time similar movements took place in many other cities. The Cincinnati Männerchöre united in a festival in 1849. The Milwaukee Musikverein was organized in 1849. Philadelphia, Baltimore, St. Louis and Chicago may be cited as other places where like activity was shown. At first all these societies were for men and cultivated only part-songs. All of them, also, were in a sense private—for members and their friends. But some of them expanded into mixed choruses and undertook extensive performances of large choral works in a public way. Even in their more limited form they supplied within their own circle a useful stimulus, and when they gave concerted works and operas they became institutions of general culture. Their most fruitful influence was just before and just after the Civil War. Out of them in several cases grew more comprehensive enterprises that were permanent and powerful. In at least half a score of cities the enthusiasm over them supplied the basis for both choral and orchestral projects of much greater scope and public spirit.
18GERMANIA ORCHESTRA, THE, was a coöperative troupe of German players, largely recruited from Gungl's band in Berlin, who came to New York in 1848. Originally they numbered twenty-four, all competent performers, led by Carl Lenschow. The latter was succeeded in 1850 by Carl Bergmann, and the number of members was at times increased. The first concert was on Oct. 5, 1848, in the Astor Place Opera House, followed by a series of sixteen, with four in Brooklyn. In December six concerts were given in Philadelphia, but with such ill-success that the troupe was temporarily disbanded. In March, 1849, they were reassembled at Washington to play at the inauguration of President Taylor. Thence they went to Baltimore, giving ten concerts and for the first time winning pecuniary success. On their way north they stopped at New Haven, Hartford, Springfield, Worcester and Providence. From April 14 they gave twenty concerts in Boston with such éclat that they were in much request elsewhere, not only in New England, but in the South and West. They played a remarkably long list of symphonies, overtures and lesser works, besides joining with choral societies in concerted works. Among the soloists assisting were Jenny Lind, Sontag, Camilla Urso and Ole Bull. In September, 1854, however, the laboriousness of travel led to the dissolution of the Orchestra. During six years they gave nearly nine hundred concerts. The influence of these was one of the most potent factors in the growth of American taste and knowledge. See article in 'Scribner's Magazine,' Nov., 1875, and the old print reproduced in Elson, American Music, p. 82.
20GERVILLE–RÉACHE, JEANNE (1882–1915). See Register, 9.
22GESNER, MAUDE EMMA. See Colleges, 3 (Western Maryland C.).
24GIDEON, HENRY (Oct. 7, 1877, Louisville, Ky.), graduated from the Louisville Boys' High School in 1895. He studied music at Harvard, spent a year in Paris on a scholarship, and was made A.M. in 1906.
The computer misreads some letters and numbers. Where a name matters to you, read the scan.