Scan 316
The American history and encyclopedia of music, 1908
13 lines. Read by computer on 7 September 2026. Printed page 277. See the scan on archive.org.
1Gaveaux
2Gaveaux (gă-vo), Pierre. 1761-1825.
3French opera singer and opera composer; born at Béziers, was a pupil of Franz Beck, conductor of the Bordeaux Theatre, in composition, and sang at the Church of Saint Severin in the same city, where he made his debut with decided success, He sang later in Montpelier, and from 1789 was engaged at the Opéra Comique, Paris. He composed thirty-five operas, of which a few remain in some favor. Though fluently written and appropriate to the stage, their intrinsic value is small. One of these, Léonore ou l’amour conjugal, was written on the same subject as Beethoven’s Fidelio. Gaveaux died insane.
5Gaviniés (gă-vēn-yēs), Pierre. About 1726-1800.
6Eminent French violinist, called by Viotti “the French Tartini.” Was born at Bordeaux, the son of a violin-maker. He was chiefly self-taught, but learned much from hearing the great Italian violinists on their tours through France. He made his debut in 1741 at one of the Concerts Spirituels, and settled in Paris as a teacher and concert player; in the latter capacity he confirmed the highly favorable impression made at his first appearance, and was regarded by contemporaries as one of the great violinists. He was director of the Concert Spirituel from its reorganization by Gossec in 1773, and on the foundation of the Paris Conservatory was appointed professor of violin, and here formed many noted pupils. He is regarded in France as the founder of the French school of violin-playing. While by no means lacking on the expressive side, his playing displayed great virtuosity, and his compositions, especially, indicate a greater command of technique than those of Tartini, although inferior in other respects. Les Vingt-quatres Matinées, twenty-four studies for violin in all keys, his most noted work, contains difficulties of execution that are said to be a strain on the possibilities of the violin itself, though it is asserted that Gaviniés, even as an old man, played these very passages with perfect ease. His other works comprise six concertos and six sonatas for violin and bass; three sonatas for violin solo; six sonatas for two violins, the Romance de Gaviniés, long popular in France; and a comic opera, Le Prétendu, performed at the Comédie Italienne, 1760.
8Gayarré, Julian. 1844-1890.
9Opera singer of Italian descent, who was born in Spain. His parents were poor, but the Spanish musician Eslava assisted him to study in the Conservatory of Madrid. Singing first in public in a subordinate part, his debut as soloist was remarkably successful. From 1873 to 1877 he sang at Rome, Milan, Vienna, St. Petersburg and in South America, then made his real debut at Convent Garden as Fernando in La Favorita, and was at first hailed as a second Mario. He thereafter appeared successfully in various operas of Wagner, Verdi, Weber, Gounod, Bellini, and others. In 1887 he reappeared at Covent Garden as the tenor in Glinka’s Vie pour le Czar, then first performed in London, he having been engaged for several years previous in different cities of Continental Europe. He is said to have been an “admirable Lohengrin, and unrivaled as Gennaro in Lucrezia Borgia, as Jean de Leyden in Le Prophète, and Enzo in Ponchielli’s Giaconda.” From 1877 to 1887 Gayarré was the most interesting tenor in London opera. His character was remarkable among men of his profession from the fact that, remembering his earlier days of poverty, he passed on to others the aid he had received, and among other worthy deeds founded a school for Spanish singing students in cramped circumstances. He died at Madrid, much regretted.
11* Gaynor, Mrs. Jessie L. 1863-
12Jessie L. Smith was born in St. Louis, Missouri, the daughter of a prominent business man of that city. Her mother, Susan Fenimore Taylor, from whom she inherited her love and talent for music, was related to James Fenimore Cooper. As a child Mrs. Gaynor sang correctly before she could talk. She was early placed under instruction, first in instrumental, and later in vocal music, continuing her musical studies while in school and college. Aside from her piano study she became somewhat familiar with the cornet, doublebass, and violin, later giving two years’ study to the last named instrument, and while at school played in an amateur orchestra on these different instruments.
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