Bow & Bridge Violin and bow makers, as the old books printed them

Books › Grove's Dictionary of music and musicians, 1927 › scan 386

Scan 386

Grove's Dictionary of music and musicians, 1927

24 lines. Read by computer on 4 September 2026. Printed page 338. See the scan on archive.org.

1lished separately soon after 1844 in Florence (Parisini, i. 45).
2c. s.
3(2) GIOVANNI-BATTISTA DA (b. Florence, c. 1585; d. circa 1650), younger brother of Marco, was educated as a priest and musician. In 1613 he succeeded to the post, formerly held by Marco, of musical instructor to the younger priests of S. Lorenzo. In 1634 he is entitled musician to the Grand Duke of Tuscany.
5LIST OF WORKS
61. Varie musiche di Giovan-Batista da Gagliano. Libro primo. Nouamente composto e dato in luce. In Venetia, appresso Alessandro Vincenti. 1623. Fol., pp. 38. In the Bibl. Nazionale, Florence. (Vogel.)
72. Motetti per concertare a 2, 3, 4, 5, 6, e 8 voci. Venetia, Aless. Vincenti. 1626. 26 numbers. In the Proske Bibl., Regensburg. (Eitner.)
83. Psalmi vespertini cum Litanis Beatissimae Virginis quinis vocibus modulandi autore Joanne Baptista a Gagliano seren. mag. Duci Etruriae musico. Opus tertium. Venetiis apud Alex. Vincentium. 1634. 4to, 13 numbers. Five partbooks (the Altus missing) in the British Museum.
94. Il secondo libro de' motetti a sei et otto voci per concertarsi nell' organo, ed altri strumenti. Di G.-B. da G. musico del seren. Gran Duca di Toscana. Dedicati all' illus. Sig. Marchese Cerbone dal Monte, Venetia, Aless. Vincenti. 1643. 4to. No. 17 'Lauda Sion' by Marco da Gagliano. Seven partbooks in the Breslau Stadtbibl. (Bohn.)
10'Salve Regina' a tre voci, No. 6 in Marco da G.'s Sac. Cant. 1622. In the Berlin königl. Bibl. MSS. W 59 contains six motets in score (publ. 1643); and in W 35 Nos. 424-430 are songs from the 'Varie musiche,' 1623. (Eitner.)
11c. s.
13GAGLIANO, an important and numerous family of violin-makers at Naples. More than twenty of this family at different periods were engaged in this craft, but the first of them was (1) ALESSANDRO, who worked from c. 1695—c. 1730. He has been styled, but not by himself, 'alumnus of Stradivari'; in reality there is no reason to connect him either with Cremona or Stradivari. Instead of following the design of Stradivari, or of any of the other famous makers, he developed a style of marked originality. Many of his instruments are of very high quality. He ordinarily used a varnish of a red colour. His sons (2) GENNARO (c. 1730—c. 1788) and (3) NICOLO (c. 1740—c. 1785), though showing less originality than their father, had the wisdom to follow more closely the Stradivari model, and made a large number of excellent instruments. (4) FERNANDO (1760—c. 1810), and (5) GIUSEPPE (c. 1760—c. 1790), both sons of Nicolo, made some good violins and violoncellos, but their work was, perhaps, less consistent than that of the earlier Gagliani. These five were followed by several other members of their family; at times they produced fairly good instruments, but as a whole their work was hasty and cheap. Up to the close of the 19th century descendants of Alessandro were living in Naples, but their interest in violins and violin-making had ceased.
15E. H. F.; information from Alfred Ebsworth Hill.
17GAILHARD, (1) PIERRE (b. Toulouse, Aug. 1, 1848; d. Paris, Oct. 12, 1918), opera singer and manager, first received instruction in singing at the Conservatoire at Toulouse, 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.
19On 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 'Chalet' and 'Toréador' of Adam, 'Mignon,' 'Haydée,' etc. On Mar. 25, 1868, he sang Ferdinand VI. in a revival of Auber's 'Part du Diable'; in 1869 in three new operas, viz. Mar. 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 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 Ritt, on the death of Vaucorbeil. His parts in new operas included, July 17, 1874, Paulus in Membrée's 'Esclave' (Salle-Ventadour); Apr. 5, 1876, Richard in Mermet's 'Jeanne d'Arc'; Dec. 27, 1878, Simon in Joncières's 'Reine Berthe'; Apr. 14, 1882, Guido da Polenta in A. Thomas's 'Françoise de Rimini,' and finally, Apr. 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 1879–83 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, 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.'
21The Ritt and Gailhard management of the Opéra ended Dec. 31, 1891, on the appointment as manager of Bertrand. In 1893 Gailhard joined the latter as manager, soon after the production, Feb. 24, of the successful ballet 'Maladetta,' scenario by himself, music by Paul Vidal, and on the death of his partner, Dec. 30, 1899, became sole manager until 1900, when he was joint manager with Capoul until 1905. From 1905–8 he was again sole manager, from which last date he was succeeded by Messager and Broussau. The chief features of his career were the production of Wagner's operas, included in the following list of his productions:
23'Lohengrin,' Sept. 16, 1891; 'Valkyrie,' May 12, 1893; revival of 'Tannhäuser,' May 13, 1895; 'Meistersinger,' Nov. 10, 1897; 'Siegfried,' Jan. 3, 1902; Verdi's 'Rigoletto' and 'Otello'; Leoncavallo's 'Paillasse' (Pagliacci), Mozart's 'Seraglio' (1903). Of native composers, Gounod's 'Roméo' at the Opéra, Méhul's 'Joseph' (1899). Of more modern composers: Reyer's 'Sigurd' (1885); and 'La Statue' (1903); Massenet's 'Le Cid' (1885); 'Le Mage' (1891); 'Thais' (1894); Saint-Saëns's 'Ascanio' (1890); 'Samson et Dalila' (1892); and 'Les Barbares' (1901);

The computer misreads some letters and numbers. Where a name matters to you, read the scan.