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Scan 522
Grove's Dictionary of music and musicians, 1927
33 lines. Read by computer on 4 September 2026, twice; the two readings disagreed in places. Printed page 472. See the scan on archive.org.
1not because they had been his pupils. Lorenzo left but few violins, and his violoncellos are very scarce; some of the violins are meritorious. It was the son, Giovanni Battista, who made the name of Guadagnini famous. As already mentioned, he followed the Stradivari design, and many of his instruments have a rather highly coloured varnish. As a rule he used excellent wood, and his instruments are held in high repute among players. He was a man of erratic temperament and restless disposition, never remaining long in one place. He worked first at Piacenza, then at Milan, then at Parma, and finally at Turin, remaining ten or eleven years in each place. He died at Turin.
3Giovanni Battista left a son (3) GIUSEPPE (1780–1800), who was known in Italy as il soldato. His work as a whole is degenerate, and only occasionally did he make an instrument in any way worthy of the family name which he bore. He worked in Como, Pavia and Turin. Later members of this family made guitars and, occasionally, violins, but the earlier traditions were completely lost. The family still survives in Turin, but they know nothing about their ancestors.
5E. H. F.; information from Alfred Ebsworth Hill.
7GUAITOLI, FRANCESCO MARIA (b. Carpi, 1563; d. there, Jan. 3, 1628), canon and maestro di cappella at S. Maria from 1593; composed psalms, vespers, etc., madrigals, motets, canzonets (Q.-L.).
9GUALANDI, see CAMPOLI. one of two readings
10GUALANDI, see CAMPIOLI. one of two readings
12GUALTERI, (1) ALESSANDRO, organist and maestro di cappella at S. Maria, Verona, 1620; composed masses (8 v., 1620) and motets (1-4 v., 1616).
14(2) ANTONIO. From 1608–25 maestro di cappella at the church and college of Monselice, Lombardy; composed 2 books of madrigals, motets and 'Amorosi diletti' (3 v.) (Q.-L.).
16GUAMI, (1) FRANCESCO (b. Lucca, c. 1544; d. there, 1601), trombone-player in Munich court chapel, 1568–80; maestro di cappella at S. Marciliano, Venice, 1593, and at Lucca, 1598–1601. He composed 3 books of madrigals, church music, ricercari (a 2 v.).
18(2) GIOSEFFO, brother of Francesco (b. Lucca, c. 1540; d. there, 1611), court organist at Munich, 1568–79; maestro di cappella at the court of Genoa, 1585; second organist at S. Mark, Venice, 1588–91; organist of S. Martino, Lucca, 1591; a highly esteemed composer of church music, madrigals and canzonets; also organ pieces, some of which appeared in modern editions. (See Q.-L.; Riemann.)
20GUARDUCCI, TOMMASO (TOSCANO) (b. Montefiascone c. 1720), a pupil of the famous Bernachi at Bologna, became one of the best singers of his time.
22He appeared at most of the chief theatres of Italy with success from 1745–70. In the autumn of 1766 he was brought over by 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,
24'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.'
26He was, perhaps, the simplest of all the first class of singers. All his effects were produced by expression and high finish. He sang in the English oratorios at short notice, with very little knowledge of our language. He received, however, £600 for twelve oratorios, a larger sum than was ever given on a like occasion until the time of Miss Linley. In 1771 he retired, and lived with his family, passing the winter at Florence and the summer at Montefiascone, where he had a handsome country-house.
28GUARNIERI, a celebrated family of violin-makers at Cremona. The first of these was (1) ANDREA (b. circa 1626; d. Dec. 7, 1698). He was a fellow-pupil with Stradivari in the workshop of Nicolo Amati, but unlike Stradivari, who developed out of his master's model an entirely original style, Guarnieri founded his own instruments on the Amati pattern. Excellent instruments of his make, not very highly finished, but covered with a fine orange varnish, are dated from the sign of 'St. Theresa' in Cremona, where he was succeeded by his younger son, GIUSEPPE.
30(2) PIETRO GIOVANNI (b. 1655) was the elder son of Andrea, and is commonly known as 'Peter of Mantua,' to distinguish him from his nephew, 'Peter of Venice.' He was born in Cremona, but settled at Mantua, where, in accordance with the family tradition, he also established himself 'sub signo Sanctae Teresae.' His work was of remarkable originality. 'There is,' says Hart, 'increased breadth between the sound-holes; the sound-hole is rounded and more perpendicular, and the model is more raised.' His varnish is, as a whole, superior to that of his brother Giuseppe. The instruments of 'Peter of Mantua' are highly valued by connoisseurs; some are superb.
32(3) GIUSEPPE (b. 1666; d. circa 1739) was the younger son of Andrea, and was described as 'Josephi filius,' to distinguish him from the more famous member of the family, also named Giuseppe, who came to be known as 'del Gesù.' He began by following his father's pattern, but he later developed a style of his
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