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Scan 407
Grove's Dictionary of music and musicians, 1927
18 lines. Read by computer on 4 September 2026. Printed page 359. See the scan on archive.org.
1the first part consisted of four and the second of eight bars; when introduced as one of the movements of a suite, it has no fixed number of bars. The gavotte should always begin on the third beat of the bar, each part finishing, therefore, with a half-bar, which must contain a minim, and not two crotchets. Occasional exceptions may be found to the rule that the gavotte is to begin on the third crotchet, as, for instance, in that of No. 3 of Bach’s ‘Suites françaises,’ which begins on the first crotchet, but of which it should be noticed that in the most authoritative editions it is termed an ‘Anglaise.’ In any case it is not strictly a gavotte. The same may be said of the ‘gavotte’ in Gluck’s ‘Orphée,’ which begins on the fourth beat of the bar, and should therefore rather have been marked ‘tempo di gavotta.’ A second gavotte frequently succeeds the first as a ‘trio,’ in the modern sense of that term. This second gavotte is either similar in construction to the first, as in Bach’s orchestral Suite in D (‘Französische Ouvertüre’), or is a MUSETTE, i.e. founded on a ‘drone-bass,’ as in the third and sixth of Bach’s ‘Suites anglaises.’ The position of the gavotte in the suite is not invariable, but it usually follows the sarabande, though occasionally it precedes it. E. P.
3GAWLER, WILLIAM (b. ? Lambeth, 1750; d. there, Mar. 15, 1809), organist and composer. In 1785 he was organist to the ‘Asylum of Refuge for female orphans, Lambeth,’ and in the following year published a book of ‘Hymns and Psalms’ in use there, followed by a ‘Supplement.’ Other sacred compilations and compositions followed and preceded this work, including ‘Harmonia sacra,’ Dr. Watts’s ‘Divine Songs,’ ‘Voluntaries for the Organ,’ etc. ‘Lessons for the Harpsichord’ and similar works also came from his pen. Before 1798 he had become a music publisher, living at 19 Paradise Row, Lambeth, and from here he issued much sheet and other music. F. K.
5GAWTHORN, NATHANIEL, clerk at the Friday Lecture in East Cheap, published in 1730 a collection of psalm tunes in four parts under the title of ‘Harmonia perfecta,’ containing also some hymns and anthems, and an Introduction to Psalmody. W. H. H.
7GAY, MARIA (b. Barcelona, June 13, 1879), operatic contralto. An all-round talent for art marked the romantic girlhood of this gifted Spanish prima donna. She worked hard at sculpture until 16, and studied the violin for some time before deciding to develop her voice, which no one had noticed until one day she was put in prison for singing a revolutionary song. Still she took no lessons, but grew up a self-taught singer until she went to Brussels by the invitation of Raoul Pugno, the pianist, and appeared in 1902 at concerts given by him and Ysaÿe. Heard at one of these by the director of the Théâtre de la Monnaie, she agreed to sing the part of Carmen at five days’ notice, untrained as she was, and, thanks to her fine voice and natural stage aptitude, she achieved an instant success. Happily she then left the stage for a year to study seriously in Paris with the famous Mme. Adiny. On her reappearance she showed a distinct advance, more especially as Carmen, which grew in her hands into a superb impersonation and helped to win her an international reputation. She sang it on her début at Covent Garden in the autumn of 1906, but appeared here in no other character. In America, however, her repertory (after 1908) became much extended, and she settled down permanently in that country, where she married in 1913 the well-known tenor, Giovanni Zenatello. H. K.
9GAYARRÉ, JULIAN (b. Roncal 1 or near Pampeluna, 2 Jan. 9, 1844; d. Madrid, Jan. 2, 1890), tenor singer, the son of a poor blacksmith. Through the kindness of Eslava, he studied singing at the Conservatorio of Madrid. He began his career at Varese as a second tenor, but soon after made a great success as Nemorino in ‘L’Élisir.’ He sang at Parma and Rome 1873, where on Apr. 6 he played Amadeus II. in Libani’s ‘Conte Verde,’ and on Apr. 8, 1876, Enzo in Ponchielli’s ‘Gioconda’ at the Scala, Milan; he sang at Vienna, St. Petersburg, South America and elsewhere. From 1877–81 he was engaged at Covent Garden, where he made his début, Apr. 7, 1877, as Fernando in ‘La favorita,’ and proved himself a very serviceable tenor, though he did not fulfil the hopes entertained of him as Mario’s successor. He reappeared there in 1886–87, and sang, on July 12, 1887, the tenor part in the production of Glinka’s ‘Vie pour le Czar.’ In the meantime he played in Madrid, in 1884 at Paris in Italian, in 1886 for a few nights as Vasco da Gama in French at the Opéra, in 1888 at Milan, and in 1889 in Spain. He founded a school of singing for indigent youths of his native country. (Gazzetta Musicale di Milano.)
11GAZZA LADRA, LA (The Thieving Magpie), a comic opera in 2 acts; libretto by Gherardini; music by Rossini; produced La Scala, Milan, May 31, 1817, King’s Theatre, Mar. 10, 1821, Paris, Sept. 18; in English (adapted by Bishop) as ‘Ninetta, or the Maid of Palaiseau,’ Covent Garden, Feb. 4, 1830.
13GAZZANIGA, GIUSEPPE (b. Verona, Oct. 1743; d. Crema, 1819), one of the most celebrated opera-composers of his time. He was a pupil of Porpora, both in Venice and at San Onofrio in Naples. He also studied under Piccinni. Through Sacchini’s influence his first opera, ‘Il finto cieco,’ was performed in Vienna (1770).3 Among his many operas may be men-
151 Grande Encyclopédie.
162 Illustrated Sporting and Dramatic News.
173 Riemann gives the date of this work as 1786, and says that Gazzaniga’s first opera was entitled ‘Il barone di Trocchia.’
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