Page:A Dictionary of Music and Musicians vol 4.djvu/667

GOLDBERG. propose reforms in the method of instruction. His proposals were approved by Lauro Rossi the then Principal of the Naples Conservatorio, and have since been put in force throughout Italy. In consideration of these services Goldberg was created a Knight of the Crown of Italy. A large number of his vocal compositions have been published and sung by the most celebrated singers here and on the continent. He was also the composer of 'La Marcia Trionfale,' which was played by the military bands when the troops of Victor Emanuele entered Rome for the first time. Mr. Goldberg has been many years professor at the Royal Academy of Music, and also professor to H.R.H. the Princess Louise. [ G. ]

GOLDMARK,. Correct date of birth to May 18, 1830, on the authority of Paloschi, and Pougin's supplement to Fétis. Add that his three-act opera 'Merlin' was produced in Vienna, Nov. 19, 1886. Selections from it were given at a Richter concert in the following year. A new symphony in E&#x266d; was given at Pesth in 1887.

GOLDSCHMIDT. P.608, l. 7, note that Joachim and von Bülow, though studying at Leipzig, were not in the Conservatorium. Add that he introduced in Germany Handel's 'Ode for S. Cecilia's day,' and in England conducted 'L'Allegro ed Il Penseroso,' for which he wrote additional accompaniments. These works had not been heard in Germany or England in a complete form since Handel's time.

GOLINELLI,, born Oct. 26, 1818, at Bologna, was taught pianoforte playing and counterpoint by Benedetto Donelli, and composition by Vaccaj. He was professor at the Liceo of Bologna from 1840 to 1870, having been appointed by Rossini while director. To this composer Golinelli dedicated his 24 Preludes for pianoforte, op. 23. He became acquainted with Hiller while on a visit to Bologna in 1842, and dedicated to him his 12 Studies, op. 15. He subsequently made a tour throughout Italy, and acquired a reputation as a composer. He also played in France, Germany, and England, appearing in London in 1851 at the Musical Union, playing with Sivori and Piatti. He retired from public life altogether in 1870, and has since resided at Bologna or in the country. His compositions, to the number of 200, published by Ricordi, T. Boosey & Co. and Breitkopf & Härtel, are written exclusively for the piano. They include 5 Sonatas, 3 Toccate (op. 38, 48, and 186); 24 Preludes dedicated to Mlle. Louise Farrenc (op. 69); 24 Preludes, 'Ai Giovani Pianisti' (op. 177), adopted by the Liceo; Album, dedicated to Mercadante; Tarantella, op. 33; Barcarola, op. 35; 'Adele et Virginia,' 2 melodies, op. 34; 'Le Viole Mammole,' op. 39; Allegretto giojoso, Milan 1878; operatic fantasias, etc. [ A. C. ]

GOLLMICK,, born Feb. 5, 1825, at Frankfort-on-the-Main. He received instruction on the pianoforte from his father, Carl Gollmick (1796–1866), writer and composer, and on the violin from Riefstahl and Heinrich Wolf. In 1844 he came and settled in London, and gave his first concert Aug. 21 at Pape's Pianoforte Rooms. He was favourably received both as pianist and violinist. In 1847 he founded the Reunion des Beaux Arts, in 1864 the Westbourne Operatic Society, and in 1879 the Kilburn Musical Association. In addition he gave concerts in London and the provinces, and at Hamburg, Frankfort, etc. His compositions include the operas 'Balthazar,' performed in private at Frankfort, 1860; 'The Oracle,' Bijou Theatre, Bayswater, 1864; 'Dona Costanza,' Criterion Theatre, 1875; 'The Heir of Linne,' operatic cantata, Dublin and St. George's Hall, 1877; 'The Blind Beggar of Bethnal Green,' dramatic cantata, London, Birmingham, etc., 1877; a symphony in C minor, MS.; a pianoforte quartet and trio in C minor; drawing-room pieces, 'Abschied,' 'The Dripping Well,' 'La Flatteuse'; transcriptions of German Volkslieder, various songs, etc. He died in London March 7, 1883. [ A. C. ]

GOMEZ, A. C. P. 609 a, l. 4 from bottom, add date of production of 'Fosca,' Feb. 16, 1873. P. 609 b, l. 3, for in read July 19.

GOODBAN,. Correct date of birth to Dec. 1784.

GOOVAERTS,, born at Antwerp, May 25, 1847, comes of an artistic family, his grandfather being a Flemish poet of some celebrity, and his father an excellent amateur musician. When still a child M. Goovaerts showed great talent for music, but after some education at the Jesuits' College at Antwerp, owing to family losses he was obliged at the age of 15 to embrace a mercantile career. During this part of his life he studied music with the greatest assiduity, and soon after 1866 (when le obtained a post in the Antwerp Town Library) his sacred motets began to be performed in the churches of his native town. From 1868 to 1874 he published seven small volumes of Flemish songs, to words by Franz Willems, set for three voices and intended for the use of primary Flemish schools. In 1869 his 'Messe Solennelle,' for orchestra, chorus, and organ, was performed on St. Cecilia's Day with great success, although it was the work of a musician entirely self-taught in harmony, composition, and orchestration. It had been preceded by a small Mass a 4 with organ accompaniment and several Flemish songs, etc. M. Goovaerts next began to occupy himself with literature, without however neglecting the composition of church music. In 1874 he began the efforts for the reform of church music by which he is best known. Having been appointed musical secretary to the Antwerp Cathedral, he established an amateur Domchor, for which he itanscribed ninety motets, etc., by Palestrina, Lasso, and the great Flemish and Italian composers. These attempted reforms met with strong opposition, to which M. Goovaerts replied by articles in the 'Fédération Artistique' and other papers, and by a work on the subject published 