Scan 360
The American History and Encyclopedia of music Music Biographies Vol.1, 1910
17 lines. Read by computer on 15 September 2026. Printed page 338. See the scan on archive.org.
1Guarnerius
2Guarnerius (goo-är-nā-rē-oos), Giuseppe Antonio. 1683-1745. (Called Joseph del Gesù.)
4Was one of a celebrated family of violin-makers of Cremona. His uncle, Andreas or Andrea, was a pupil of Nicolo Amati and a fellow workman of Stradivarius; his violins bearing dates from 1650 to 1695. Andrea's sons, Peter and Joseph, and his grandson Peter, all made very good instruments, each one's work having some different individuality; but in the case of Giuseppe the excellence and the originality of his workmanship amounted to genius, which is scarcely surpassed by that of the renowned Stradivarius, of whom it has been stated that Giuseppe was a pupil. The latter's violins, however, are unlike the Stradivarius model, and show the influence of an earlier worker, Gaspar di Saló. The great variety of shape and size in the instruments of Giuseppe Antonio, indicates that he made many experiments in order to obtain the depth of tone, which was his main object, rather than elegance of form; and in this power and richness of tone his instruments excel. The sobriquet del Gesù is given him from the appearance of the letters I. H. S. on his labels. Many of his instruments are marked with a sap stain along the belly, parallel with the finger-board, and these bellies are thought to have been made from one huge piece of pine of especial acoustic value. The best of his violins are attributed to a middle period in his life, and show the most finished workmanship, although different ones were so unlike that their appearance or modeling is in no way a sign of their origin; and those ascribed to his later period are decidedly inferior and may or may not have been his work. So far as known he made no violoncellos. Paganini used one of Giuseppe's instruments, and restored them to favor, whereas prior to his career the softer toned Strads and Amatis had been more widely used by violinists. Martin Roeder states that Joachim was presented with a Guarnerius worth over six thousand dollars, and that Sarasate used one worth fifteen thousand dollars.
6Gudehus (goo'-dē-hoos), Heinrich. 1845-
8Distinguished dramatic tenor; born at Altenhagen, Hanover; was the son of a schoolmaster in his native village, and began life in the same vocation, later becoming organist at Goslar. His first singing-teacher recognized his talent and sent him to Berlin, where he immediately procured an engagement at the Court Opera under Von Hülsen. After some study under Gustav Engel he made his debut as Nadori in Jessonda, 1871, but after about a year retired for further study under Louise Ress at Dresden. In 1875 he reappeared; from 1880 to 1890 he was a member of the Court Opera at Dresden, and the next season sang in German Opera in New York. On his return to Europe he was engaged as a member of the Court Opera in Berlin, but has since retired. He created the part of Parsifal at the second performance, in Bayreuth, of that renowned opera. On leave of absence in 1882 he sang at Frankfort and Vienna, and in 1884 at Covent Garden as Walther in Die Meistersinger. His interpretation of Wagnerian roles has been particularly successful.
10Guérin (gā-nān), Marie Alexandre. 1744-1819.
12French violinist and prolific composer; was born at Maubeuge, France. He studied the violin under Capron, and composition under Gossec at Paris. In 1777 he became musical intendant to Prince Condé; in 1778 a member of the Royal Orchestra, and from 1780 to 1800 was solo violinist at the Grand Opéra. His works include fourteen symphonies for a combination of orchestral instruments; also eighteen violin duets, six sonatas for a solo violin and an accompanying violin, six string quartets, one concerto for viola, three cello duets, and three sonatas for clavecin and violin.
14Guerrero (gēr-rā'-rō), Francisco. About 1528-1599.
16Noted representative of the early Spanish School of composers; was born at Seville, and after some lessons from his elder brother studied under Morales. About 1546 he was appointed chapelmaster of the Cathedral of Jaen. It is said that he became a singer in the Cathedral at Seville about 1550, where he was finally made chapelmaster, in 1554. In 1558 he made a journey to Jerusalem, an account of which was published after his death, in 1611. He lived to be
The computer misreads some letters and numbers. Where a name matters to you, read the scan.