excellent résumé of the question (J. S. Bach, vol. iii. p. 661, etc., English edition), tells us further that songs by Giovannini are included in Graefe's Odensammlung (1741 and 1743) two of which were since published in Lindner's 'Geschichte des deutschen Liedes,' etc. (1871). These are said to show a strong resemblance to the style of 'Willst du dein Herz mir schenken,' and there seems no longer any reasonable doubt that this Giovannini is the real composer. The external evidence quite admits the possibility of this, as the book may very probably have come into other hands after the death of Anna Magdalena Bach, and so competent a critic as Dr. Spitta sees no reason to endorse Dr. Bust's opinion that some of the notes are in Bach's handwriting; while from internal evidence it might well be thought that no musician who had even a slight acquaintance with Bach's work could ever suspect it to be by him.
GIUGLINI, Antonio. Add place and date of birth, Fano, 1827. (Paloschi.)
GLADSTONE, Dr. Francis Edward, was born at Summertown, near Oxford, March 2,1845. When 14 he was articled to Dr. S. S. Wesley, with whom he remained at Winchester for five years. After being organist for two years at Holy Trinity Church, Weston-super-Mare, in 1866 he obtained the post of organist at Llandaff Cathedral. In March 1870 Mr. Gladstone was appointed organist at Chichester Cathedral, but three years later he moved to Brighton, where he remained until 1876, when after a short residence in London he accepted the post of organist at Norwich Cathedral, which he resigned in 1881. Dr. Gladstone then became organist to Christ Church, Lancaster Gate, London, a post which ill health compelled him to resign in 1886. He took the degree of Mus. B. Cantab, in 1876, and shortly after was made an Honorary Member of the Royal Academy of Music. He took the degree of Mus. D. in 1879, and is also a Fellow of the College of Organists, a Member of the Board of Musical Studies at Cambridge, and a teacher of organ, etc., at the Royal College of Music. Having been lately received into the Roman Catholic Church, he has been recently appointed director of the choir at St. Mary of the Angels, Bayswater. Dr. Gladstone, who is one of the first of living English organists, has composed much music for his instrument, besides services, anthems, songs, a chorus (with orchestral accompaniment), 'A wet sheet and a flowing sea,' an overture (MS.), a piano trio (MS.), and two sacred cantatas—'Nicodemus' and 'Philippi, or, the Acts of Paul and Silas in Macedonia,'—the latter of which was written for the North-Eastern Choirs Association, and produced at Newcastle in July 1883. A cantata, 'Constance of Calais,' performed by the Highbury Philharmonic Society, a mass in E minor (MS.), written for the Brompton Oratory, and a short mass in E♭, are among Dr. Gladstone's most recent works.
GLINKA, Mikhail Ivanovitch. Line 1 of article, for 1803 read May 20, 1804; l. 2, for Feb. 15 read Feb. 2. Add that 'La Vie pour le Czar' was produced at Covent Garden in Italian, July 12, 1887.
GLOCKENSPIEL, a name applied to any instrument by means of which a series of bells can be struck by a single performer, and the effect of a chime be produced with little trouble. In Germany the term includes both the smaller kinds of Carillons, and a stop on the organ which brings a set of small bells into connection with the keyboard. The istromento d'acciajo which appears in the score of the 'Zauberflöte,' is such a set or frame of bells played by means of a keyboard, and represents in the orchestra the Glockenspiel played by Papageno on the stage. The instrument used in German military bands is composed of inverted metal cups arranged pyramidally on a support that can be held in the hand. It is somewhat similar in shape to the 'Turkish crescent' formerly used in the British army. (See vol. ii. p. 20b). It is this form of the instrument which has been introduced by Wagner into the orchestra; its effective employment in the 'Feuerzauber' in 'Die Walküre' is a familiar instance of its occurrence. The peal of four large bells, cast for the performance of Sir Arthur Sullivan's 'Golden Legend' is arranged for convenience in a somewhat similar form.
GLOVER, Stephen, teacher and composer, was born in 1812 in London. From the year 1840 to nearly 1870 his facile pen produced sacred and sentimental songs, ballads, duets and pianoforte pieces, resulting in a record of some twelve to fifteen hundred separate compositions, many of them published. 'The Dream is past' dates probably from 1837; 'The Gipsy's Tent,' 'Echo's Song,' and 'The Merry Mill,' 1840; 'The Monks of old,' 1842; 'The Gipsy Countess' belongs to about the same period; 'I love the merry sunshine,' 1847; 'What are the wild waves saying?' duet, 1850; 'The Blind Girl to her Harp,' 1854; 'The Good-bye at the door,' 1856; 'The Music of the Birds' (one of his many duets for two ladies' voices), 1863; 'Beauty and the Beast,' chamber opera, 1868. Less popular but more favourable examples of his talent are perhaps contained in a collection of (12) 'Songs from the Holy Scriptures,' published by Jefferys; and his setting of Longfellow's 'Excelsior' is not without merit.
Stephen Glover, who was never very robust, retired in early life to the country; but his death took place in London (Bayswater), when he was 58, on Dec. 7, 1870.
His music received that mere drawing-room popularity which proclaimed it worthless as representative of genuine national song on the one hand, and as the effort of a pioneer of culture on the other. His success in the narrow field of his labours was enormous, and has probably not been equalled, in the publishers' sense, by any composer of the present day, although the present day also is not without its musicians who regard the expediency of the moment as their natural
