nos. 8 and 11), comes to the conclusion that the letters were not written in any year from 1800 to 1803 inclusive, and that the Countess Guicciardi was not the object of them. Beethoven however had been deeply in love with her, and believed that his passion was returned. At least such was his impression in Feb. 1823, when he wrote in a conversation-book preserved in the Berlin Library, 'J'etois bien aimé d'elle et plus que jamais son epoux.' A few lines further on he states that he had seen her again after her marriage—'main je la meprisois.'
Giovanni, born at Bologna in 1532; according to Baini came to Rome, and was a pupil of Palestrina. Palestrina being commissioned by Gregory XIII to revise the services of the Roman Church, associated his pupil with lam in the task, as having an intimate knowledge of the MSS. both in St. Peter's and in the other principal churches of Rome. Thus the real labour of the work, which he himself styles 'opus nullius ingenii, multarum tamen vigiliarum,' fell upon him. It was begun in 1576, and occupied him till 1581. The work was published in 1582 'Directorium chori … Opera Joannis Guidetti Bononiensis,' etc., and Guidetti had the right of sale for ten years. His preface makes the respective shares of the labour of himself and Palestrina clear. He had the drudgery, while Palestrina had the final revision and completion of all portions requiring it. It is quite consistent with Palestrina' s character that he should have thus given Guidetti his full credit. The 'Directorium' went through many subsequent editions down to 1737, and was succeeded by 'Cantus ecclesiasticus passionis,' etc. (1586); 'Cantus ecclesiasticus officii majoris,' etc. (1587); and 'Praefationes in cantu firmo,' etc. (1588), all published in Rome. The aim of these works was to revive Gregorian singing in its pristine purity, and free it from the arbitrary additions and alterations then in vogue. Guidetti was a priest, and died at Rome Nov. 30, 1592.
[ F. G. ]
[ P. D. ]
GUILLAUME TELL. Rossini's 37th and last opera; in 4 acts, libretto by Bis and Jouy. Produced at the Académie Aug. 3, 1829; in London, in English, as 'Hofer the Tell of the Tyrol,' 'arranged' by Bishop, words by Planché, Drury Lane, May 1, 1830, and as Guillaume Tell at the same house, Dec. 3, 38; in Italian, as Guglielmo Tell at Her Majesty's, July 11, 39. It is usually much curtailed, but in 1856 was performed entire in Paris, and lasted from 7 till 1.GUILMANT, Felix Alexandre, son of an organist of Boulogne, and born there March 12, 1837. He took to the organ at an early age, and before he was sixteen was made organist of S. Joseph, in 1857 Maître de Chapelle of S. Nicolas, and shortly after professor of solfeggio in the local Ecole communale. In 1860 he became for some months a pupil of Lemmens, who heard him play and was struck by his ability. In 1871 he removed from Boulogne to Paris, and was appointed organist of the church of the Trinity, a post which he still fills. He is one of the leading organ players of France, and has considerable extempore power. For his instrument he has published a sonata and two collections of arrangements—'Pièces de différents styles,' and 'L'Organiste pratique'; also various masses, motets, and airs, arrangements and original pieces for the harmonium. Guilmant is no stranger to England, having played at the Crystal Palace, at Sheffield, and elsewhere. Jew's-Harp.
[ V. de P. ]
[ A. J. ]
GUITAR (Fr. Guitare, obsolete Guiterne; Ital. Chitarra; Germ. Guitarre, obsolete Gittern, Ghittern, and Gythorn; Span. Guitarra).The Spanish guitar is the most generally
- If Beethoven had mistaken the day of the month, 1806 might be the year.