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Scan 265
Grove's dictionary of music and musicians;, 1904
8 lines. Read by computer on 5 September 2026. Printed page 252. See the scan on archive.org.
1he acquired great reputation in all the principal theatres of Italy. There he sang the part of 'Telemacco,' written for him by Gluck, who procured his engagement in 1766 at Vienna, as 'Orfeo.' Having excited both admiration and disturbance in that capital, he returned to London in 1769. 'As an actor he seems to have had no equal on any operatic stage in Europe: his figure was uncommonly elegant and noble; his countenance replete with beauty, intelligence, and dignity; and his attitudes and gestures were so full of grace and propriety, that they would have been excellent studies for a statuary. But, though his manner of singing was perfectly delicate, polished, and refined, his voice seemed, at first, to disappoint every hearer, for he had now changed it to a soprano, and extended its compass from six or seven notes to fourteen or fifteen' (Burney). The same writer gives a curious criticism of his style, too long to quote here, from which it appears that he produced his best effects by singing unaccompanied and by fining off his notes to a thread. He had strong resentments and high notions of his own importance, which made him many enemies. He sang under J. C. Bach in the Lent of 1770, and later in the same year was heard at Verona by the Electress of Saxe, who brought him to Munich, where he remained in great favour with the Elector till the death of that prince. In 1766 he sang at Potsdam before Frederick II., who gave him a handsome gold snuffbox studded with brilliants,—the finest he had ever given. In 1777 he returned to Padua. There Lord Mount-Edgcumbe heard him (1784) in a motetto, and found his voice still full and well-toned, and his style excellent. He insisted on Lord Mount-Edgcumbe going to his house, where he entertained him with fantoccini, which he exhibited on a little stage, and in which he took great delight. This writer puts his death in the next year, 1785; but Fétis fixes it much later, in 1797. He amassed considerable wealth, which he spent liberally and charitably. J. M.
3GUADAGNINI, a numerous family of Italian violin-makers, of the Cremona school, though probably originating from Piacenza. The first generation consists of LORENZO and JOHN-BAPTIST; the latter seems always to have been a family name. Their exact kinship is uncertain. They worked from about 1690 to 1740. Both claimed to be pupils of Stradivarius. The violins of John-Baptist fully justify this claim. They are finely designed, and covered with a rich dark-red varnish, easily distinguishable from the glaring scarlet varnish used by the second John-Baptist, and are in all respects worthy of the Stradivarian school. John-Baptist dated from Milan, Piacenza, and Turin; he sometimes describes himself as 'Cremonensis,' sometimes as 'Placentinus.' The violins of Lorenzo are of high sterling merit, despite their divergence from the Stradivarian model. The design is often bold to the verge of uncouthness; the corners are heavy and obtrusive; the scroll is quite unlike that of Stradivarius: the varnish, though rich and good, is less brilliant. Both of these makers are highly esteemed, and good specimens command prices varying from £40 to £100. In the second generation a marked decadence is observable. The second JOHN-BAPTIST (probably a son of Lorenzo) made a large number of useful violins of the commoner sort. They are mostly of the Stradivarian pattern. He introduced that unpleasantly high-coloured varnish which is often supposed to be the special characteristic of a 'Guadagnini.' He used excellent wood, and his instruments are in good repute among orchestral players. He usually dates from Piacenza. To the same generation belongs JOSEPH (1740-60), who usually dates from Milan, and claims to be from Cremona. He was probably a brother of the second John-Baptist. His work is massive and full of character, but distinguished by a certain rudeness, in which he probably imitated Joseph Guarnerius. His brownish-yellow varnish contrasts oddly with that of his contemporary John-Baptist and those used in the earlier generation. The third and following generations of the Guadagnini family exhibit a lamentable falling off. Now and then they did their best to imitate the work of their predecessors: more often they seem to have worked at haphazard. The third generation had quite lost the art of varnishing. Sometimes the varnish is a hard and cold imitation of that of John-Baptist the second: sometimes it is a thick, dull, opaque mass, resembling paint: sometimes merely a thin albuminous wash. In the make little often remains of the Cremonese character at all. They nevertheless made a certain number of useful instruments. Members of the family are believed to be still engaged in the violin trade at Turin.
5GUANDALI. See CAMIOLI.
7GUARDUCCI, TOMMASO, TOSCANO, born at Montefiascone about 1720, was a pupil of the famous Bernacchi at Bologna, and became one of the best singers of his time. He appeared at most of the chief theatres of Italy with success from 1745 to 1770. In the autumn of 1766 he was brought over by Mr. Gordon, one of the managers, to the London Opera as 'first man,' with Grassi. In the spring of 1767, two serious operas, 'Caratacco' by J. C. Bach and Vento's 'Conquista del Messico,' were produced; and in these the two new singers excited more attention, and acquired more applause, than before. Guarducci was, according to Burney, 'tall and awkward in figure, inanimate as an actor, and in countenance ill-favoured and morbid; but a man of great probity and worth in his private character, and one of the most correct singers. His voice was clear, sweet, and flexible. His shake and intonations were perfect, and by long study and practice he had vanquished all the difficulties of his art, and possessed himself of every refinement.'
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