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Scan 155
Grove's dictionary of music and musicians, 1916
16 lines. Read by computer on 10 September 2026. Printed page 133. See the scan on archive.org.
1Other compositions:—'Bel pastor' (Dialogo di ninfa e pastore). Musiche di Pietro Benedetti. Libro primo. Fiorenza. 1611. 'Ecco solinga' a una voce. The same. Libro secondo. Venetia. 1613. 'O dolce anima' a 5 voci. Secondo libro de' madrigali a 5 voci di Gio. del Turco. Firenze. 1614. 'Nasce questo' a 5 voci. Terzo libro de' madrigali a 5 voci di Filippo Vitali. Venetia. 1629. 'Lauda Sion' a 8 voci. Secondo libro de' motetti a 6 e 8 voci di Gio. Battista da Gagliano. Venetia. 1643.
3The madrigals attributed to Gagliano in 'De' fiori del giardino' 2da parte, Norimberga, P. Kaufmann, 1604, were composed by Gio. del Turco, and were included in Gagliano's first book of madrigals, 1602. MSS.—In the Bologna Liceo Musicale.—'Benedictus qui venit' for four voices, in score in the handwriting of the Abbé Santini. Folio score of the first (1606 ed.), fifth and sixth books of madrigals for five voices. The score and separate parts of the Finale dell' atto IV., and the Coro di Nereidi e Napee in the opera 'La Flora.' In a MS. of the 18th century, a Messa a cinque voci con basso continuo; a Messa festiva a quattro voci pure col basso numerato; and a motet 'Viri Sancti' a cinque voci (the last, doubtful if by Gagliano). Dated 1594, Firenze. It is improbable that this early date is correct. In the Berlin königl. Bibl. (L. 190) an 18th century MS. with the same three compositions; the five-part mass is called 'Flores apparuerunt,' and on the four-part mass is noted 'unica e rara.' Also the Lauda Sion for eight voices, published 1643 (MS. W. 59, No. 812, in score). The Responsi per la settimana santa for four voices, published 1630 (MS. L. 132). The Responsoria 'In monte Oliveti' for four voices, with basso continuo (MS. 6910, in score). Recent reprints.—Robt. Eitner. Die Oper von ihren ersten Anfängen, etc., vol. 10 of the Publikation älterer prakt. u. theoret. Musikwerke, Berlin, 1881. The first and last parts of 'Dafne.'
5F. A. Gevaert. Les Gloires de l'Italie, 1868, vol. i. p. 116, 'Alma mia dove' a due voci; vol. ii. p. 116, 'Valli profondi' a una voce; both taken from Musiche a 1, 2 e 3 voci, 1615. The latter, arranged for the organ, was published in A. H. Brown's Select Compositions, 2nd series, No. 69, 1876.
7Hugo Goldschmidt. Studien zur Geschichte der ital. Oper. 1901, App. D. From 'La Flora': 1. Coro 'Bella Diva' a 5 voci; 2. Coro 'Taci Pane' a 2 voci; 3. Clori's air, composed by Peri; 4. Zeffiro's song 'Eccomi un quel'; 5. Coro 'delle grazie.'
9Luigi Torchi included a song from 'La Flora' in the 'Raccolta' published by Ricordi, Milano, and inserted a Benedictus and two madrigals in the fourth vol. of his Arte Musicale in Italia.
11The preface to the opera 'Dafne' was published separately soon after 1844 in Florence (Parisini, i. 45).
13GAGLIANO, a celebrated family of violin-makers at Naples. ALESSANDRO, the first, worked from about 1695 to 1725. His work, like that of his sons, is good and substantial, but it exhibits the same unattractive greyish-yellow varnish which was used by the sons. Alexander calls himself 'alumnus' of Stradivarius, and all the Gaglianos worked more or less on the Stradivari model. His sons, NICOLO (1700-40) and GENNARO (1710-50), made a large number of good instruments. His grandson, FERDINANDO (1736-81), son of Nicholas, like all his Italian contemporaries, exhibits a marked decline. The later Gaglianos established a manufactory of violin-strings, which to this day enjoys a world-wide reputation. P. D.
15GAILHARD, PIERRE, born August 1, 1848, at Toulouse, first received instruction in singing there at the Conservatoire, and in 1866 and 1867 at the Conservatoire of Paris, from Révial, where he gained the three first prizes for singing, opéra, and opéra-comique. On Dec. 4, 1867, he made his début, with great success, at the Opéra Comique as Falstaff in Ambroise Thomas's 'Songe d'une Nuit d'Été,' and remained there until 1870 playing in the 'Châlet' and 'Toréador' of Adam, 'Mignon,' 'Haydée,' etc. On March 25, 1868, he sang Ferdinand VI. in a revival of Auber's 'Part du Diable'; in 1869 in three new operas, viz. March 10, as the Count d'Arlange in Offenbach's 'Vert Vert'; Sept. 11, Barbeau in Semet's 'Petite Fadette,' and Dec. 20, as the Chevalier de Boisjoli in Auber's 'Rêve d'Amour.' On Nov. 3, 1871, he made his début at the Grand Opéra as Mephistopheles in 'Faust.' He remained a very successful member of that company until Dec. 1, 1884, when he was appointed manager of that theatre with M. Ritt, on the death of M. Vaucorbeil. His parts included Leporello, Caspar, St. Bris, Claudius in 'Hamlet,' Don Pedro ('L'Africaine'), etc.: in new operas July 17, 1874, Paulus in Membrée's 'Esclave' (Salle-Ventadour): April 5, 1876, Richard in Mermet's 'Jeanne d'Arc'; Dec. 27, 1878, Simon in Joncières's 'Reine Berthe'; April 14, 1882, Guido da Polenta in A. Thomas's 'Françoise de Rimini,' and finally, April 2, 1884, as Pythias in the revival of Gounod's 'Sapho,' wherein he gave an admirable presentment of a drunken debauchee (Annales du Spectacle). He also sang with success at the various concerts, notably Nov. 19, 1874, in 'Judas Maccabaeus,' under Lamoureux. On leave of absence, from 1879 to 1883 inclusive, he was a favourite singer at the Italian Opera, Covent Garden, where on May 10, 1879, he made a highly successful début as Mephistopheles, being, in the opinion of many connoisseurs, the best representative of the part since Faure. His parts in London included Caspar, Leporello, Assur in 'Semiramide,' both St. Bris and Marcel in the 'Huguenots,' Peter in 'L'Étoile du Nord'; June 26, 1880, Girod on the production in Italian of 'Le Pré-aux-Clercs'; June 9, 1881, Osmin on the revival of the 'Seraglio'; July 11, 1882, the title part in Boito's 'Mefistofele,' and July 5, 1883, the Podesta on the revival of 'Gazza Ladra.' He was equally excellent both as a singer and actor in both serious and comic
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