Unger M.P. Historical Dictionary of Choral Music
Подождите немного. Документ загружается.
142 • GAFFURIUS, FRANCHINUS
Under German influence, he began writing in a more international
(and consequently less Nordic) style. Upon Mendelssohn’s sudden
death in 1847, Gade succeeded him as primary conductor of the Ge-
wandhaus Orchestra, but he returned to Copenhagen in 1848 at the
outbreak of the Prussian-Danish war. In 1850 he became director of
the Copenhagen Musical Society, which he revitalized by establish-
ing a permanent orchestra and chorus. With these forces he intro-
duced masterpieces to Danish audiences, among them, Johann Se-
bastian Bach’s St. Matthew Passion and Ludwig van Beethoven’s
Ninth Symphony.
As a composer, Gade’s output consists primarily of symphonies,
chamber music, keyboard works, and choral compositions. Among
nearly 30 choral works are more than a dozen cantatas for solo-
ists, choir, and orchestra, some of which are based on Danish folk
legends, for example, Elverskud (1854) and Balders drøm [Baldur’s
Dream]. Two of them, Zion (1874) and Psyke (1882), were composed
for the Birmingham Festival. He also wrote 5 sets of partsongs (27
pieces) for male chorus and 1 set (five pieces) for mixed chorus.
GAFFURIUS, FRANCHINUS (14 JANUARY 1451–25 JUNE
1522). Italian theorist, composer, and maestro di cappella. His
numerous published theoretical treatises were internationally influ-
ential for more than a century. Born in Lodi, he studied at the local
Benedictine monastery before being ordained as a priest. A scholarly
interest in music theory and practice emerged already during his stu-
dent years. Reading widely, he began to synthesize the material he
encountered with ideas of his own. Because of its breadth, the most
significant of his works is Practica musicae (1496); Gaffurius later
summarized it in an Italian version entitled Angelicum ac divinum
opus musice (1508). The events of his life took him to Mantua, Ve-
rona, Genoa, Naples, and Milan, where he became maestro di cap-
pella at the cathedral in 1484, and university professor a little more
than a decade later. He evidently composed little before assuming
the position at the Milan cathedral. His choral works (extant in four
choirbooks) include about 18 masses, 11 Magnificats, about 50 mo-
tets, and some hymns. Only a handful of secular works survive.
GAGLIANO, MARCO DA (1 MAY 1582–25 FEBRUARY 1643).
Italian composer. Born in Florence, he received his education at a
leading city confraternity and then served for over three decades
GALLUS, JACOBUS • 143
as maestro di cappella at the city’s cathedral (San Maria del Fiore)
and the Medici court (from 1608 and 1609, respectively). In 1607
he founded one of the city’s academies, whose members included
leading musical and literary figures. He was one of the earliest opera
composers, particularly renowned for Dafne, whose 1608 premiere in
Mantua was highly successful.
Gagliano published six volumes of madrigals during his lifetime.
His madrigals typically employ limited polyphonic imitation; their
frequent homophonic textures and syllabic declamation demonstrate
his stated concern for intelligibility of the text. He also wrote a great
deal of sacred music, much of which still remains in manuscript.
Six volumes of (primarily) motets and masses appeared during his
lifetime; many of these are for four voices or six voices. One vol-
ume, Sacrarum cantionum . . . liber secundus (for one to six voices,
1622/23), employs continuo and florid vocal writing, suggesting that
the works were intended for private use at the Medici court. Though
renowned during his lifetime, Gagliano has since been eclipsed by
Claudio Monteverdi and other contemporaries.
GALA CHORUSES (GAY AND LESBIAN ASSOCIATION OF
CHORUSES). A not-for-profit organization formed in 1982 to support
gay, lesbian, bisexual, and transgender choruses, and the gay, lesbian,
bisexual, and transgender (GLBT) choral movement’s mission of pro-
moting harmony among people of diverse backgrounds and lifestyles.
GALILEI, VINCENZO (BORN ?LATE 1520s; BURIED 2 JULY
1591). Italian theorist, composer, lute player, singer, and teacher;
father of the famous astronomer. He was a leader in the Florentine
movement to replicate the union of music and poetry in ancient
Greek theater for maximum rhetorical impact. Having studied with
Gioseffo Zarlino in Venice, he later took issue with some of his
teacher’s theories. His most influential work was Dialogo, in which
he criticized counterpoint for its inability to achieve a focused
rhetorical effect because of its multiple melodic lines. He was in-
strumental in devising monody—a style that attempted to recreate
the classical Greek presentational style from written descriptions of
it. His own compositions included two books of madrigals for four
and five voices.
GALLUS, JACOBUS. See HANDL, JACOBUS.
144 • GALUPPI, BALDASSARE
GALUPPI, BALDASSARE (18 OCTOBER 1706–3 JANUARY
1785). Italian composer, famous especially for his operas. Born in
Venice, he studied with Antonio Lotti, and worked in opera houses
as a harpsichord player and music arranger. In 1740 he was appointed
to a position at the Ospedale dei Mendicanti, where he taught,
conducted, and composed sacred music. In 1748 he received an ap-
pointment at San Marco (St. Mark’s Basilica). While he wrote much
sacred music for the Ospedale and the cathedral, his focus remained
on opera—especially on comic opera, which was then becoming
popular. His operas quickly became popular in Italy and beyond; by
the mid-1750s he was one of the most famous composers in Europe.
Increasingly busy, he resigned his position at the Ospedale in 1751.
In 1762 he was appointed chief director of music at St. Mark’s and
director of music at the Ospedale degli Incurabili. In 1764 he was re-
cruited by the Russian court of Catherine the Great. He began work-
ing there the following year, producing not only operas but also some
liturgical music, which was influential on native composers such as
the young Dmytro Bortniansky. In late 1768 Galuppi returned to
Venice to resume his former duties. Thereafter he focused primarily
on the sacred music, which, although including perhaps hundreds of
works (masses, motets, oratorios, Magnificats, and other liturgi-
cal pieces), has not yet been studied systematically. Nevertheless,
it is clear that he worked in a wide range of styles: counterpoint in
the stile antico, fugue, polychoral writing, and the galant idiom of
contemporary opera.
GARDINER, [SIR] JOHN ELIOT (20 APRIL 1943– ). English
conductor. Early in his career he developed an interest in histori-
cally informed performance. In 1964, while still a student at King’s
College, Cambridge, he founded the Monteverdi Choir. He later
studied with Thurston Dart in London and Nadia Boulanger in Paris.
In 1967 he marked the 400th anniversary of Claudio Monteverdi’s
birth with a performance of Monteverdi’s Vespers in his own new
edition. In 1968 he formed the Monteverdi Orchestra to complement
the choir. The group was succeeded in 1978 by the English Baroque
Soloists, an ensemble of period instruments. Gardiner’s other con-
ducting appointments have included the CBC Vancouver Orchestra
(1980–83), Opéra de Lyons (1983–88), the Göttingen Handel Festi-
val (1981–90), and the NDR [Nord Deutscher Rundfunk] Symphony
GASCONGNE, MATHIEU • 145
Orchestra (1991–94). For the 25th anniversary of the Monteverdi
Choir in 1989, he undertook a world tour, performing Monteverdi’s
Vespers.
In 1990 Gardiner founded the Orchestre Révolutionnaire et Ro-
mantique to perform 19th-century repertoire on period instruments.
In 1993 he gave the modern premiere of Hector Berlioz’s Messe
solennelle, a work lost for more than 150 years. For the 250th an-
niversary of Johann Sebastian Bach’s death in 2000, he undertook
a “Bach Cantata Pilgrimage,” performing all of Bach’s sacred can-
tatas in more than 60 churches throughout Europe and the United
States. As a conductor of operas, Gardiner has frequently performed
rarely heard works or new editions of more familiar ones. His more
than 250 recordings span a wide breadth of literature.
GARDNER, JOHN (LINTON) (2 MARCH 1917– ). English composer
and teacher. Having completed his education at Exeter College of Ox-
ford University, he served as a bandmaster and navigator in the armed
forces during World War II, and then worked as a répétiteur at Covent
Garden before teaching at Morley College (1952–76), St. Paul’s Girls’
School (1962–1975), and the Royal Academy of Music (1956–86).
Gardner’s musical style is eclectic, with frequent inclusion of
popular elements. Among the works for chorus and orchestra are
Cantiones sacrae, op. 12 (commissioned for the Three Choirs Festi-
val, 1951–52); The Ballad of the White Horse, op. 40 (1959); Herrick
Cantata, op. 49 (1961); The Noble Heart, op. 59 (1964); Cantata for
Christmas, op. 82 (1966); Mass (in D), op. 159 (1982); Cantata for
St. Cecilia, op. 195 (1991); and A Burns Sequence, op. 213 (1993).
Unaccompanied works or choral compositions with few instruments
include A Latter Day Athenian Speaks, op. 51, significant for its con-
trapuntal style (1961); The Shout, op. 67 (1964); Mass (in C), op.
70 (1965); Cantata for Easter, op. 105, with org. and perc. (1970);
Seven Songs to Poems by Stevie Smith, op. 126, with wind qnt.
(1976); Open Air Suite, op. 132, with brass band (1976); and Stabat
mater, op. 210, with org. and timp. (1993). Most widely performed is
Tomorrow Shall Be My Dancing Day, op. 75/2 , with pf. (1965).
GASCONGNE, MATHIEU (FLOURISHED EARLY 16TH CEN-
TURY). French composer. Little is known about his life except that
he was employed at the royal chapel of Francis I in 1517–18. Extant
146 • GASPARINI, FRANCESCO
vocal works include 8 masses for four voices (only the Benedictus
survives for one), some 15 motets (not counting three contrafacta),
and some 16 chansons (mostly for three voices).
GASPARINI, FRANCESCO (19 MARCH 1661–22 MARCH 1727).
Composer and teacher. His early career was spent in Rome. In 1701
he was appointed maestro di coro at the Ospedale della Pietà in
Venice, where he hired Antonio Vivaldi and established the school’s
reputation as the finest of its kind in Italy. By 1716 he had settled
again in Rome. In 1726 he began duties as maestro di cappella at San
Giovanni in Laterano (Basilica of St. John Lateran). His career was
largely focused on operatic composition. In addition to more than 60
operas and about 75 chamber cantatas, extant works include some
35 larger cantatas and oratorios, 7 masses, and about 60 liturgical
pieces, over half of which are for two or three voices with continuo.
He wrote in both the strict contrapuntal style and in the newer con-
certed style (of his masses, one is a canonic work, four are called
messa concertata). He was highly regarded as a teacher, and his theo-
retical manual on playing the figured bass, L’armonico pratico, was
reprinted several times until 1802. His students included Domenico
Scarlatti and Johann Joachim Quantz.
GASPARINI, QUIRINO (1721–30 SEPTEMBER 1778). Italian com-
poser who worked as maestro di cappella of Turin Cathedral from
1760 until his death. Among his extant choral works are 11 masses, 3
Requiem settings, 3 Magnificats, and other liturgical music.
GASSMANN, FLORIAN LEOPOLD (3 MAY 1729–20 JANUARY
1774). Bohemian composer. Having established his reputation in
Italy as an opera composer, he became Christoph Willibald von
Gluck’s successor at the Viennese imperial court in 1763. On a trip
to Italy a few years later, he met Antonio Salieri, whom he brought
back as his student. He founded the Tonkünstler-Societät, Vienna’s
first musical society, writing the oratorio, La Betulia liberata, for
one of its first public concerts (29 March 1772). That year he was
appointed to the position of court Kapellmeister. Other extant choral
works include five masses (two of which are missae solemnis, one
a missa brevis, and one a Requiem); a Stabat mater, for four voices
and continuo
; a Vespers, for double choir, orchestra, and organ; and
approximately 50 other sacred works, among them, motets, psalm
settings, graduales, offertories, and hymns.
GATTERMEYER, HEINRICH • 147
GASTOLDI, GIOVANNI GIACOMO (C. 1554–4 JANUARY
1609). Italian composer. In 1588 he succeeded Giaches de Wert as
maestro di cappella in Mantua, after having served there in lesser
capacities for more than 15 years. He is credited by Michael Prae-
torius and Thomas Morley with inventing the vocal balletto, which
was taken up especially by English composers such as Thomas
Morley. His fame rested primarily on his two volumes of balletti,
one for five voices (1591, reprinted approximately 30 times) and one
for three voices (1594). Despite the overwhelming reputation of these
works, he actually published more music of other types: surviving
compositions include an additional 9 volumes of secular works for
three to 10 voices (among them, many madrigals and canzonet-
tas) and some 15 volumes of sacred works (among them, masses,
motets, psalm settings, and Vespers music). His style was almost
invariably accessible (with textures emphasizing homophony and
simple counterpoint), suiting both popular taste and the spirit of the
Counter-Reformation.
GATTERMEYER, HEINRICH (9 JULY 1923– ). Austrian com-
poser. He studied music at the Vienna Conservatory, and German
language and literature at the University of Vienna. In 1964 he began
teaching at the Conservatory, where he was appointed professor of
composition in 1977. For nearly 25 years he worked as a choral direc-
tor. His compositions usually employ freely organized tonality (but
also occasional serialism) in an eclectic mix of styles governed by
the desire to achieve immediacy of expression. Choral works include
the oratorios Weihnachtsoratorium, for S, A, T, B, SATB, and orch.
(1951); Der Turmbau zu Babel, for Bar., SATB, and orch. (1960,
rev. 1964, 1976, 1983); Provokationen, for spkr., Bar., TB, str., and
perc. (1971); De profundis, for Mez., SATB, and orch. (1975); and
Gesänge Hiobs, for SATB, fl., cl., and pf. (1980)—the latter three
with libretti written by the composer; and the Missa Bernardi, for
TB and str. (1959); Missa Sancta Barbara, for SATB, fl., cl., bn.,
2 hn., 2 tpt., 3 trbn., and perc. (1981); and Ignatius-Messe, for S, T,
B, SATB, hn., 2 tpt., trbn., tuba, and str. (1993). Additional works
include Asinus rex for solo vv., SATB, fl., cl., 2 tpt., str., and perc.
(1955); Te Deum, for solo vv., SATB, and orch. (1963); Lieder un-
serer Heimat, for TB (1965); Morgenlied for SATB and orch. (1970);
Trakl-Fragmente, for SATB and pf. (1974); and various works for
male chorus.
148 • GAWTHROP, DANIEL E.
GAWTHROP, DANIEL E. (21 OCTOBER 1949– ). American
composer, active also as a broadcaster, clinician, adjudicator, church
musician, conductor, teacher, and writer. He studied organ perfor-
mance and composition at Michigan State University and Brigham
Young University. His many choral compositions (dozens of which
were commissioned) have been performed widely by choral en-
sembles that include the American Boychoir, the Gregg Smith
Singers, the Mormon Tabernacle Choir, the Paul Hill Chorale,
the Turtle Creek Chorale, and the United States Air Force Singing
Sergeants.
GEIST, CHRISTIAN (C. 1650–27 SEPTEMBER 1711). German
composer and organist, active in Copenhagen, Göteborg, and Stock-
holm. His extant vocal ensemble works include more than 40 motets
(three-quarters of which employ Latin texts). Scored for one to five
voices with obbligato instruments and continuo, these works usually
follow the Italian concerto model. Three of seven German-texted
works are chorale settings.
GENIN, VLADIMIR (31 MARCH 1958– ). Russian composer. His
interest in Russian folklore and history, influenced by the national-
ism of Georgy Sviridov, has led to both staged and unstaged choral
works. Among them are Plach po Andreyu Bogolyubskomu, Ve-
likomu knyazyu Vladimirskomu [Lament for Andrey Bogolyubsky,
Grand Prince of Vladimir], for voices and chorus, commissioned
by the Vladimir Chamber Choir to mark the millennium of Russia’s
adoption of Christianity (1987); Ispoved’ blazhennogo Avgustina
[The Confession of St. Augustine], for voices, narrator, and chorus
(1990); Posledneye puteshestviye [The Last Journey], a chamber
cantata for B, chorus, and orch. (1994); Song of the Sky Loom
(1989); And There Shall Be Delay No Longer (1990); and Remember
Me O Lord (1990).
GENZMER, HARALD (9 FEBRUARY 1909–16 DECEMBER 2007).
German composer. After World War II he taught at conservatories in
Freiburg (1946–57) and Munich (1957–74). An interest in accessibil-
ity and amateur music-making was no doubt influenced by Paul Hin-
demith, with whom he studied at the Berlin Conservatory. Among his
many choral works are Mass in E, for S, A, Bar., vv., and orch. (1953);
Südamerikanische Gesänge, for 4–9 vv. (1957); Ostermesse, for S, B,
GESUALDO, CARLO, PRINCE OF VENOSA AND COUNT OF CONZA • 149
chorus, and orch. (c. 1960); Jiménez-Kantate, for S, chorus, and orch.
(1962); Irische Harfe, for 4–8 voices (1965); Deutsche Messe, for
mixed chorus and org. (1973); Petrarca-Chöre (1974); Oswald von
Wolkenstein, for S, B, chorus, and orch. (1976); Geistliche Kantate, for
S, male chorus, org., and perc. (1979); and Kantate 1981 (on English
Baroque poetry),for S, chorus, and orch. (1981).
GERSHWIN, GEORGE (26 SEPTEMBER 1898–11 JULY 1937).
American composer, pianist, and conductor. Born to Russian immi-
grants, he grew up in New York. In 1914 he dropped out of school to
work for Jerome H. Remick & Co., a music publishing firm on Tin
Pan Alley, selling songs by performing them for potential custom-
ers. By 1917 he was working on Broadway as a rehearsal pianist,
and in 1918 he was hired by Harms Publishing Company to compose
songs. Many of his vocal works were written in collaboration with
his older brother, lyricist Ira Gershwin. Success on Broadway came
quickly. Not accepting the separation of popular and classical styles,
he brought jazz into the concert hall with Rhapsody in Blue, for piano
and orchestra. While continuing to compose songs for musical the-
ater, he turned more and more to concert music, which led to increas-
ing fame at home and abroad. His greatest vocal work, the American
folk opera, Porgy and Bess, opened on Broadway in the fall of 1935,
less than two years before his untimely death. The popularity of
Gershwin’s songs has led to numerous choral arrangements, among
them, medleys of pieces from Porgy and Bess. Two madrigals, The
Jolly Tar and the Milkmaid (for S, T, mixed chorus, and pf.) and Sing
of Spring (for mixed chorus), were both written for the film A Damsel
in Distress (1937).
GESUALDO, CARLO, PRINCE OF VENOSA AND COUNT OF
CONZA (C. 1561–8 SEPTEMBER 1613). Italian nobleman and
composer. The scandal that erupted in 1590, when he murdered his
first wife and her lover, caused him to go into seclusion at his estate
in Gesualdo (near Naples) and dedicate himself to music composi-
tion. In 1594 he remarried, this time to Leonora d’Este of Ferrara.
The city was a progressive musical center, home of Luzzasco Luzza-
schi, who was admired for his serious, expressive madrigals. There
Gesualdo participated in the musical activities of the court until reset-
tling at his estate in early 1596.
150 • GHERARDELLO DA FIRENZE
His compositions include 6 books of madrigals for five voices
(published between the years 1595 and 1611, and comprising some
122 individual works), 2 volumes of Sacrarum cantionum for five to
seven voices (both published in 1603, each containing 24 motets),
the Responsoria (published in 1611 and containing 26 works), some
works published posthumously (including one volume of madrigals
for six voices), and others left in manuscript.
Gesualdo’s madrigals—especially the later ones—are character-
ized by irregularity, fragmentation, unrestrained chromaticism, and
wide leaps in the voices. He evidently preferred epigrammatic poetry
to pastoral or narrative texts (avoiding the Petrarchan sonnet and
epic poetry). In his choice of poets Gesualdo showed an indepen-
dence that led him from more popular writers in his first two volumes
(especially common was Torquato Tasso) to minor poets or texts
written by himself in later ones. Often he reshaped the poems by
leaving out sections (or, on the other hand, repeating passages), so
that he could compose at will. This approach resulted in a sectional
format that is highly variegated in harmonic construction and tempo.
He employed little word-painting. Books 1 and 2 (1594) show his
early style, which is relatively conventional. Books 3 and 4 (1595,
1596) show Ferrarese influence: the madrigals are more fragmented,
unconventional, and unpredictable. Books 5 and 6 (1611) contain
extremely chromatic works, in which structure and coherence nearly
disintegrate. A well-known example from Book 6 is Moro lasso.
Gesualdo’s sacred works, too, are intensely expressive. The 27
Tenebrae Responsories of 1611 are essentially madrigali spirituali,
in which strange leaps, sharp dissonances, and sudden chromatic
shifts highlight the emotion-laden images of the Passion account.
His musical style was apparently a reflection of his turbulent personal
life. Isolated and afflicted by depression at the end, he died heirless.
GHERARDELLO DA FIRENZE. See ITALIAN TRECENTO.
GHIZEHEM, HAYNE VAN (BORN C. 1445; DIED 1476–97).
Franco-Flemish composer who worked for Charles the Bold of
Burgundy. Some 20 extant chansons have been attributed to him,
though only half that number with any certainty. They are generally
treble-dominated works for three voices in rondeau form. Some of
them were widely disseminated. Among these are Allez regrets and
De tous biens plaine, which each appear in some 25 sources, and
GIBBS, CECIL ARMSTRONG • 151
which were used by several other composers as the basis for their
own works.
GIBBONS, ORLANDO (BAPTIZED 25 DECEMBER 1583; DIED
5 JUNE 1625). English composer and keyboard player. He received
his training as a chorister at King’s College, Cambridge (under his
brother Edward, who was Master of the Choristers), then served in
the Chapel Royal from 1603 until his death in 1625 (court records
indicate he served as a Gentleman of the Chapel from 1605, and as
an organist from 1615). In 1623 he received an appointment at West-
minster Abbey.
As a composer he was known primarily for his church music. The
first of his two services was widely disseminated and some of his 40
anthems have remained in the Anglican repertory to this day. The
most famous of these is perhaps the full anthem Hosanna to the Son
of David (for six voices) and the verse anthem This Is the Record of
John. His music demonstrates a keen grasp of contrapuntal tech-
nique, a certain seriousness, and (although he was not interested in
overt word-painting, chromaticism, or decoration), great sensitivity
to the meaning and inflection of the text.
In the dozen extant madrigals he avoids light, satirical poetry; the
most famous example is The Silver Swanne, included in the only volume
published by the composer, The First Set of Madrigals and Mottets, apt
for Viols and Voyces, for five voices (1612). His consort songs include
the unusual The Cryes of London, for five voices and five viols, which
incorporates the cries of contemporary London street hawkers.
GIBBS, CECIL ARMSTRONG (10 AUGUST 1889–12 MAY 1960).
English composer. In 1919 he commissioned Walter de la Mare to
write a play, Crossings, for the Wick School at Hove, where he was
teaching. Adrian Boult, who conducted Gibbs’s music for the perfor-
mance, was so impressed that he raised financial support for Gibbs,
allowing him to pursue composing full time. For a year he studied at
the Royal College of Music under Boult, Charles Wood, and Ralph
Vaughan Williams. From 1921 to 1939 he taught at the conserva-
tory. He was active as a festival adjudicator, and served as the vice
president of the British Federation of Music Festivals from 1937
to 1952. His choral works include numerous ones for chorus and
orchestra, some 35 anthems, as well as motets, carols, and psalm
settings, and about 100 partsongs.