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(b. Old Connaught House, Co. Wicklow, June 24, 1865), singer, son of Richard J. Greene of Dublin, was educated at Clifton College, and intended for the Bar, but his voice was so fine that he determined to enter the musical profession, and studied at Stuttgart (under Hromada from 1883), Florence (under Vannuccini) and London (under J. B. Welsh and Alfred Blume). His first public appearance took place in ' Messiah ' at the People's Palace, Stepney, Jan. 21, 1888 ; in the following March he sang in Gounod's ' Redemption ' at one of Novello's Oratorio Concerts, and was soon engaged at all the most important London concerts. He made his mark most decisively in the recitals which he gave jointly with Leonard B o r w i c k (q.v.) from the year 1893 onwards, in the course of which his artistic interpretation of such great lyrical masterpieces as Schumann's ' Dichterliebe ' and the songs of Brahms was justly admired. In 1890 he appeared at Covent Garden in a few parts, notably as the Commendatore in 4 Don Giovanni,' and the Duke of Verona in ; ' Romeo et Juliette ' ; and in the autumn of the j same year he made his first festival appearance | at Worcester. Two years afterwards, at the | Gloucester Festival, his creation of the part of 1 Job in the oratorio of that name, by Hubert j Parry, made a profound impression, and thence- . forward he was associated with most of the first ' productions of Parry's works. Many of the finest songs of Stanford were written for him, and his remarkable powers of interpretation, and especially the beauty of his diction in singing the English language, have made him one of the leading apostles of English song from the folk-song to the products of modern composers. In recent years he has taught, lectured and written on many subjects connected with his art. His book, Interpretation in Song, contains the essence of his teaching. Greene made successful tours in Germany, America, etc., visiting the latter country for the first time in 1893. Thirty years later he visited Canada for a tour of adjudication at competitive festivals. (See M. and L. vol. iv. No. 4.) m . ; addns. c.

(b. Cassels, July 1, 1764; d. there, 1847), composed operas, pianoforte and organ music and I songs, and edited a Hessian hymn-book, and a German edition of Gluck's 4 Iphigenia in Aulis.* He wrote a number of essays and treatises on musical subjects, and contributed to Schilling's Musical Dictionary and several musical periodicals (Riemann; Q.-L.).

(b. Massa-Carrara, May 1727 1 ; d. Rome, Nov. 19, 1804). His father was an accomplished musician and maestro di cappella to the Duke of Modena. At the age of 18 he was sent to supplement his home training at the Neapolitan Conservatorio di San Loreto, where he had the advantage of the tutorship of Durante and where he composed an opera, ' Chichibio,' in 1739, his twelfth year, if the date given by Baini is to be trusted. As soon as he left the Conservatorio he started on a tour through the principal cities of Italy, beginning with Turin, where he brought out his earliest opera (1755). Everywhere his genius i According to Baini, b u t as he is called * maestro di cappella * on th e text-book of his opera * Chichibio,* preserved a t Naples, i t is probable th a t an earlier da te of b irth should be given. was cordially acknowledged, and his best works met w ith general applause. He is known, however, to have made a great number of failures, which were probably the result of that careless workmanship to which artists of his selfindulgent and pleasure-loving habits are prone. From Italy he went in 1762 to Dresden, Brunswick, and finally in 1768 to London, whither his wife appears to have accompanied him, and where his success seems to have been checked by the intrigues of a musical cabal. In 1777 he returned to Naples to find that Cimarosa and Paisiello, each in the height of his fame, had eclipsed between them a reputation which his own fifteen years of absence had allowed to wane. I t is to his credit that the necessity of struggling against these two younger rivals spurred Guglielmi to unwonted effort, and that the decade during which he divided with them the favour of the Neapolitan public was the culminating epoch of his mental activity. Wearied of the stage, Guglielmi finally in 1793 accepted the post of maestro a t the Vatican, and died in harness a t Rome. His operas were numerous and their style was varied, and he composed masses, motets, hymns and psalms for the Church, and several oratorios, besides a great deal of important chamber music for the harpsichord, violin and violoncello. Four oratorios are mentioned in Q.-L. as still extant, many motets, etc., and the number of Guglielmi's operas is given, in an article by F. Piovano in the R .M .I . vol. xii. p. 407, as 120. Some are of uncertain authorship, but a careful list is given. Of these by far the greater number would be uninteresting nowadays, but his ' I due gemelli * (1789), ' La serva innamorata ' (1790), 4 La pastorella nobile ' (1785), 4 Enea e Lavinia * (1785), * I viaggiatori ' (1772) and ' La bella pescatrice ' (1789) will always hold a considerable place in the history of music. A bravura air of Guglielmi's, 4 Gratias agimus,' for high soprano, with clarinet obbligato, was long a favourite in English concert programmes. E. h . p . (2) P ie t ro Carlo (sometimes only Carlo ; also called G u g l ie lm in i ) (b. Naples, c. 1763; d. Massa-Carrara, Feb. 28, 18272), son of Pietro, studied at the conservatorio at Loreto. He went to London in 1810, and on his return he became maestro di cappella of the Grand Duchess of Massa - Carrara. He composed, between 1783-1816, a large number of operas,3 mostly in the style of his father. E v. d. s.

(b. 1809; d. Dytchley, Dec. 4, 1878), the son of a tea-merchant in the c ity of London. He entered upon his career as an operatic manager and impresario in 1849, after the secession of Costa from Covent Garden, and remained in possession of the same theatre until 1877, when the management was handed over to his son Ernest Gye, the husband of Mme. A lbani (q.v.). He died while staying at Dytchley, the seat of Viscount Dillon, from the effects of a gun accident, and was buried at Norwood on the 9th of the month. m.

(b. Banstead, Surrey, Feb. 7, 1825 ; d. Aug. 7, 1877), learned the piano from Pixis, Dohler and Thalberg, and harmony and construction from Molique. Her principal work was a Cantata named ' Evangeline,' founded on Longfellow's poem ; she wrote many operettas, one of which, ' Widows bewitched,' was performed by the German Reed Company in 1867, and had a long run. Her cantatas ' Dreamland ' and ' Evangeline ' were performed at Covent Garden in 1870 and 1873. Many of her songs were very popular. Miss Gabriel was of Irish parentage. She married George E. March (author of most of her librettos) in Nov. 1874. G.

(probably a Latinised form of the German Hahnel or Hahnlein), J o a n n e s , theoretical writer and composer, lived in Leipzig about 1520. He is thought to have held some scholastic post. His theoretical work was first entitled ' Isagoge de compositione cantus ' (Leipzig, 1520), and was dedicated to Georg Rhau, who was then cantor at St. Thomas's, Leipzig, and by whom it was afterwards frequently published at Wittenberg from 1538 onwards under the title ' Libellus de compositione cantus.' I t is Galliculus who tells us of Rhau's composition of a Mass a 12 on occasion of the Disputation between Luther and Eck at Leipzig in 1519. He also expresses the opinion, which has been practically adopted in later times, that choral compositions for four voices are the b e s t ; that bass, tenor, alto and soprano are sufficient for all purposes, and that every additional voice-part is so far superfluous, as wanting a definite compass. His compositions consist o f : 1. A Passion according to St. Mark (in R h au 's * H armoniae De Passione Domine,' 1538). 2. Some liturgical pieces for E a ste r and Christmas (in R h au 's ' Oflicia paschalia,' 1539, and * De Na tivita te ,' 1545). 3. Two Magnificats (Rhau's ' Vesperarum officia, 1540-45). 4. Psalm I I . Quare fremuerunt a 4 (Ott, 1537). For a further account of the Passion Music see Otto Kade, Die dltere Passionscompositionen, 1893. The part of the Evangelist is set in the simple Church Recitative ; the other parts are mostly a 4, some a 2. Kade praises highly the contrapuntal art and melodic expressiveness of Galliculus. j . r . m .

(b. Winchester, June 8, 1834 ; d. Cambridge, Apr. 8, 1897), organist and composer. In 1844 he entered the choir of New College, Oxford, where he studied under Dr. S. Elvey until 1848. He then returned to Winchester and studied for six years with Dr. S. S. Wesley, to whom he acted as assistant, 1851-54, when he accepted the post of organist at the cathedral of Madras, but returned to England in 1857 on his appointment as organist at St. John's College, Cambridge. Garrett took the degree of Mus.B. in 1857, and that of Mus.D. in 1867. In May 1873 he succeeded J. L. Hopkins as organist to the University. In Nov. 1878, by grace of the senate, he received the degree of M.A. propter merita, a distinction which had never been previously conferred on a musician who did not fill a professorial chair. Dr. Garrett was also an examiner for the University and other bodies. His compositions include a sacred cantata, ' The Shunammite ' (performed by the Cambridge University Musical Society in 1882 and at the Hereford Festival in the same year), church music, songs, partsongs, and a few pieces for the organ ; but it is chiefly as a composer of Services that he won his wide reputation. w. b . s.

(b. Barcelona, June 13, 1879), operatic contralto. An all-round talent for art marked the romantic girlhood of this gifted Spanish prima donna. She worked hard at sculpture until 16, and studied the violin for some time before deciding to develop her voice, which no one had noticed until one day she was put in prison for singing a revolutionary song. Still she took no lessons, but grew up a selftaught singer until she went to Brussels by the invitation of Raoul Pugno, the pianist, and appeared in 1902 at concerts given by him and Ysaye. Heard at one of these by the director of the Theatre de la Monnaie, she agreed to sing the part of Carmen at five days' notice, untrained as she was, and, thanks to her fine voice and natural stage aptitude, she achieved an instant success. Happily she then left the stage for a year to study seriously in Paris with the famous Mme. Adiny. On her reappearance she showed a distinct advance, more especially as Carmen, which grew in her hands into a superb impersonation and helped to win her an international reputation. She sang it on her debut a t Covent Garden in the autumn of 1906, but appeared here in no other character. In America, however, her repertory (after 1908) became much extended, and she settled down permanently in that country, where she married in 1913 the well-known tenor, Giovanni Zenatello. H . K .

(b. Spa, Dec. 7, 1877), Belgian violoncellist, began his studies when 7 years of age under Bellmann, a pupil of Griitzmacher and member of the famous Heckmann Quartet. In 1885 ho entered the Verviers Conservatoire, made rapid progress, and was already a graduate in 1888. Before this he had made occasional appearances as a soloist near home (at Liege where his father was professor at the Conservatoire, at Aix-la-Chapelle, Lillo and elsewhere), but it was in the year 1888 that he definitely adopted the career of travelling virtuoso, fulfilling his first engagement at a concert a t Nottingham in which Ysaye and Paderewski also took part. His next appearance was in London, where he gave several successful recitals and was spoken of as the successor to Piatti in classical music. Tours in France, Germany, Russia, the United States and Australia followed, during which he was heard chiefly in solos, though in America he occasionally took part in concerted music, playing quartets under Ysaye and Martoau and trios with Kreisler and Hofmann. w. w. c.

(b. Brescia), a Franciscan monk ; maestro di cappella of Prince of Correggio in 1613, of Cardinal Aldobrandini at Ravenna in 1618 ; and at St. Antonio, Padua, in 1622. He retired to Novara, 1625. Q.-L. gives a list of his numerous still extant sacred and secular compositions which appeared between 16)09 10.