simultaneously in French and Flemish, 'La Musique d'Église. Considerations sur son état actuel et Histoire abrégée de toutes les écoles de l'Europe.' After two journeys in Germany and Holland, to study the work of the Ratisbon school of the former country and the Gregorian Association of the latter, M. Goovaerts in 1881 became one of the leaders of the Gregorian Association founded by the Belgian bishops in that year, for which he has recently composed a motet, 'Adoramus,' for four equal voices. In 1877 he was crowned by the Belgian Académie, and in 1880 he received the gold medal for his 'History of Music Printing in the Netherlands.' In the same year appeared his valuable work on Abraham Verhoeven, which was translated into Flemish in the following year. M. Goovaerts, after having been for some time Assistant Librarian at the Antwerp Town Library, is now (1887) employed at the Archives Royales at Brussels. He is a member of many learned societies, both Belgian and foreign. The following is a list of his principal musical and literary works:—
MUSICAL.
Ave Maria.
2 O Salutaris.
Flemish Songs.
Pieces for Piano and Violin.
Petite Messe.
Messe Solennelle.
Dree stemmige Liederen voorde Schooljengd.
Adoramus.
Ave verum.
Tantum Ergo.
O Jesu, sapientia.
Noël (P. V.)
Lieder and Scenas.
Choral Music, etc.
LITERARY.
Notice blographique et bibliographique sur Pierre Phalèse, imprimeur de Musique à Anvers au 16e siècle, suivie du catalogue chronologique de ses impressions.
Levensschets van Ridder Leo de Burbure.
Une nouvelle œuvre de Pierre Benoît, analysée par Pierre Phalèse (translated into Flemish).
Notice Historique sur un tableau de Michel-Angelo de Caravaggio.
La Musique d'Eglise (translated into Flemish).
Généalogie de la famille de Liagre.
Le Peintre Michel-Ange Immenraet.
Génealogie de la famille Wouters.
Histoire et Bibliographic de la Typographie Musicale dans les Pays Bas.
Origine des Gazettes et Nouvelles Periodiques. Abraham Verhoeven (transl. into Flemish).
Articles In the Biographic Nationale.
GORDIGIANI, Luigi. Last line of article, for in read May 1.
GORIA, A. E. See vol. ii. p. 733b.
GOSS, Sir John. Line 3 of article add date of birth, Dec. 27, 1800. P. 611a. l. 9, complete date of 'The Church Psalter, etc.', 1856. Add date of Goss's death, May 10, 1880.
GOSSEC, F. J. Add to list of works an oratorio, 'L'Arche d'alliance,' performed at the Concert Spirituel; Choruses to the tragedy of 'Electra' (1783); 'Berthe' (with Philidor and Botson, Brussels 1775); operas, 'Hylas et Silvie,' 'La Reprise de Thoulon,' and 'Le Perigourdin,' not publicly performed. It should also be noticed that the introduction of horns into the orchestra is attributed to him, and that the employment of the gong or tam-tam in his funeral music in honour of Mirabeau is the first instance of its use as an orchestral instrument.
GOSTLING, Rev. John, born about the middle of the 17th century, was sworn a gentleman extraordinary of the Chapel Royal on Feb. 25, 1678, and three days later was admitted in ordinary, on the death of William Tucker. He is called 'a base from Canterbury, Master of Arts.' He subsequently became a minor canon of Canterbury, vicar of Littlebourn, chaplain to the King, Sub-dean of St. Paul's and Prebendary of Lincoln. He died July 17, 1733. He was one of the most famous singers of his time, on account of the volume and compass of his bass voice. He was one of the 'ministers' at the coronations of James II, and of William and Mary. Hawkins gives an anecdote explaining the origin of Purcell's anthem, 'They that go down to the sea in ships,' a work written to suit Gostling's voice, and at his own request, in his History, p. 707 (Novello's ed.). [See vol. i. p. 148a, iii. p. 47a, 49b.]
GOTTSCHALK, Louis Moreau, born at New Orleans, May 2, 1829, of an English father, Doctor of Science at Cambridge, Mass., and a French mother, daughter of Count Antoine de Bruslé, colonel of a cavalry regiment and governor of St. Domingo at the time of the insurrection. His family being in easy circumstances, young Gottschalk studied the piano as an amusement; at the age of 12, having already gained much applause as a performer, he obtained permission to go to France in order to perfect himself. In Paris his first master was Charles Hallé; he afterwards studied with Camille Stamaty, and for composition with Maleden, who was Saint-Saëns first master. While he was in Europe his family sustained heavy pecuniary losses, and he at once thought of turning his talents to account. He was not content with merely playing in drawing-rooms, but gave concerts, by which his name as a composer and pianist was quickly established. He also made a professional tour in the French provinces, Savoy, Switzerland, and Spain, in which last country he had an enormous success (1852). On his return from his travels he was recalled by his father to New Orleans. He then began his first tour through America, playing his piano compositions and conducting his orchestral works at monster festivals; a symphony entitled 'La Nuit des Tropiques,' a triumphal cantata, an overture, fragments of an unpublished opera, etc., were heard in this way. His success was so great that an American speculator, Max Strakosch, since famous for having brought out Mme. Patti, engaged him to make an enormous tour through the States. From this period Gottschalk's career was one of incessant and successful travel. He died suddenly at Rio de Janeiro, Dec. 18, 1869, at the very time when, tired of his wandering life, he was planning a quiet retreat at Paris. For some time he had been weakened by fever and fatigue, and at one of his concerts, as if seized by a fatal presentiment, he was unable to finish his last composition, 'La Morte.' Probably no artist travelled more than Gottschalk; in Spanish America, where he was idolized by the public, there is scarcely a town of any importance where he did not give concerts. He wrote voluminously for the piano, and his works, popular at the time of their production, have an originality and a local colour which were
