Page:A Dictionary of Music and Musicians vol 4.djvu/666

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poems by Leconte de Lisle, Aug. de Châtillon, Victor Hugo, and Godard (for he is himself a poet at times), the most remarkable of which is the piece called 'Les Elephants,' cleverly contrived to give the effect of ponderous weight (do. Feb. 24, 1884); and lastly a 'Symphonic Légendaire,' written partly for orchestra alone, partly for solo vocalists, and partly for chorus and orchestra. The libretto is by various poets, of whom Godard is one, and forms on the whole a somewhat heterogeneous production, embracing all kinds of fantastic paraphernalia, through which the composer can revel in descriptive music to his heart's content (Concerts du Châtelet, Dec. 19, 1886). After the retirement of Pasdeloup, who was a firm admirer of Godard' s works, and generally allowed him to conduct them himself, the latter formed the idea of reviving the Concerts Populaires under the name of Concerts Modernes, but the undertaking proved impracticable, lasting with great difficulty till the end of its first season (Oct 1885–April 1886). On Jan. 31,1884, Godard, who has not succeeded in producing any work on the French stage, brought out at Antwerp a grand opera, 'Pedro de Zalamea,' written on a libretto by Silvestre and Ddtroyat, but without success. Some selections from it, performed at concerts in Paris, had no better fate. He has lately written three orchestral incidental pieces for 'Much Ado about Nothing,' produced at the Odéon, Dec. 8, 1887. On Feb. 25, 1888, his opera 'Jocelyn' was produced at Brussels with moderate success. He has ready for performance two grand operas, 'Les Guelfes' and 'Ruy Blas'; it is to be hoped that they will soon be produced, for Godard has undoubted talent, and would have had much more success had he known how to impose a stricter discipline upon his natural gifts, and to judge his own compositions more severely, without thinking that all the productions of his facile pen merit the attention of the musical world.

[ A. J. ]

GODDARD, Arabella. The last sentence on p. 604 is to be corrected, as the Sonata in B♭, op. 106, had been introduced to England by M. Alexandre Billet on May 24, 1850, at St. Martin's Hall. In that and the following year, M. Billet gave thirteen concerts of chamber-music in London, with very interesting programmes.

GODFREY. Add date of death of Adolphus Frederick, Aug. 28, 1882.

GOD SAVE THE KING. P. 606a, the last note of the final musical example should be A. Line 9, for p. 98 read fo. 98; and l. 22, for p. 66 read fo. 56. P. 607a, after l. 17 from bottom, add has set it for solo and chorus with accompaniment for PF., violin, and cello (B. & H's. ed. No. 259).

Add that the version made by Harries for use in Denmark appeared in the 'Flensburgsches Wochenblatt' for Jan. 27, 1790, and begins 'Heil Dir, dem liebenden.' It is expressly stated to have been written for the melody of 'God save great George the King.' The Berlin form, beginning 'Heil Dir, im Siegerkranz,' is by Balthasar Gerhard Schumacher, and was published in the 'Spenersche Zeitung,' Berlin, Dec. 17, 1793. See a paper by A. Hoffman von Fallersleben in his 'Findlinge,' Leipzig, 1859.

Besides the authorities quoted in vol. i., and Mr. Cummings's papers, see an article by Major Crawford in Julian's 'Dictionary of Hymnology,' P. 437.

GOETZ, Hermann. Correct date of birth to Dec. 7, 1840 (Paloschi, and Pougin's supplement to Fétis). Add to works mentioned in article:—Cantata 'Nänie' (Schiller) for chorus and orchestra, op. 10; Cantata 'Es liegt so still' for male chorus and orchestra, op. 11; six songs, op. 12; and 'Genrebilder,' six pianoforte pieces, op. 13. His posthumous works include a setting of Psalm cxxxvii. for soli, chorus and orchestra, first performed in England by the London Musical Society, June 27, 1879; Quintet in C minor for piano and strings (with double bass); a piano sonata for four hands, concertos for piano and violin; and several songs and vocal quartets.

GOLDBERG, Joseph Pasquale, born at Vienna Jan. 1, 1825; began his career as a violinist, as a pupil of Mayseder, and studied counterpoint and composition under Ritter von Seyfried at Vienna. At the age of 12 he appeared at the Grand Redoutensaal, and performed a concerto in E minor, with orchestra, of his own composition, dedicated to Spohr. After a few years he left Vienna for Italy, and played at Trieste, Venice, Bergamo, etc. From Italy he went to Paris, and was then urged by Rubini and Meyerbeer to become a singer; he received his vocal instruction from Rubini and Bordogni, and afterwards from the old Lamperti in Italy. He was engaged for three years as Primo Basso assoluto, in the principal theatres of Italy. At the age of 18 he made his début at Padua in Donizetti's 'Regina di Golconda,' and met with a most favourable reception. At Verona and Genoa he sang with his sister, Fanny Goldberg Marini, at that time one of the most celebrated prima donnas of Italy, in 'Maria di Rohan.' But being of a serious and retiring disposition, and detesting the stage, he decided to leave it, and returned to Paris determined to sing only at concerts and to teach the art of singing. At Paris he became a favourite, and was on the most intimate terms with Rossini, Donizetti, Chopin, Halévy and Thalberg. In 1847 he came to London to fulfil a six-weeks engagement with Jullien. From 1850 to 1861 he made several provincial concert tours in England with Grisi, Alboni, Mario, etc., and then settled in London, where he has since remained as a professor of singing. Among his pupils we will name Giuglini and Brignoli, Mme. Gassier, Mme. Rabatinsky, and his own sister, Catherina Goldberg-Strossi, who earned a great success at La Scala, Milan, and at the Grand Teatro, Barcelona. In 1871 Mr. Goldberg was commissioned by Correnti, Minister of Public Instruction, to report upon the Conservatoires of Italy, and to