have been shifted quickly enough to answer the required purpose. It was, probably, this circumstance that led to the absurd belief that Guido invented the Spinet.
To sum up our argument. It appears certain that Guido invented the principle upon which the construction of the Stave is based, and the F and C Clefs; but, that he did not invent the complete four-lined Stave itself.
There is strong reason to believe that he invented the Hexachord, Solmisation, and the Harmonic Hand; or, at least, first set forth the principles upon which these inventions were based.
Finally, it is certain that he was not the first to extend the Scale downwards to Γ ut; that he neither invented Diaphonia, Discant, Organum, nor Counterpoint; and, that to credit him with the invention of the Monochord, and the Polyplectrum, is absurd.
GUGLIELMI, Pietro. Line 2 of article, after in add May. P. 638b, l. 3, for in read Nov. 19.
GUIGNON, Jean Pierre. Line 10 of article, after and insert in 1741. Add date of death 1775, and refer to Roi des Violons.
GUIRAUD, Ernest, has taken a more prominent place in France since the notice of him in vol. i. was written. In July 1878 he was decorated with the Legion of Honour, and in 1880 he was appointed professor of advanced composition at the Conservatoire, replacing Victor Massé, elected honorary professor. In 1879 his 'Piccolino' was given by Carl Rosa at Her Majesty's Theatre in London. A new opera in three acts, entitled 'Galante Aventure,' failed at the Opéra Comique (March 23, 1882); but he has always retained an honourable position in concerts, where he has produced selections from an unpublished opera, 'Le Feu' (Concerts du Châtelet, March 9, 1879, and Nov. 7, 1880), an overture, 'Arteveld' (do. Jan. 15, 1882), a caprice for violin and orchestra, played by Sarasate (do. April 6, 1884), an orchestral suite in four movements (do. Dec. 27, 1885), and lastly a 'Chasse Fantastique,' suggested by a passage in Victor Hugo's 'Beau Pécopin' (Concerts Lamoureux, Feb. 6, 1887). All these works are worth hearing, and are cleverly written for a composer who, though thoroughly familiar with his materials, yet lacks inventive genius, and who as a professor shows an eclecticism and a judicious moderation worthy of all commendation. In art genius is not given to every one, and those who have only talent are to be praised for not prosecuting virulent attacks upon innovators more richly gifted than themselves.
GUNG'L, Joseph. Line 4 from end of article, for in read March 5.
GURA, Eugen, born Nov. 8, 1842, at Pressem, near Saatz, Bohemia, was the son of a small schoolmaster. He received a good technical education at the Polytechnicum, Vienna, and afterwards studied art at the Vienna Academy, and at a School of Painting under Professor Anschutz (a pupil of Cornelius) at Munich. He was finally advised to adopt a musical career, and for that purpose studied singing at the Munich Conservatorium under Professor Joseph Herger, and finally, in April, 1865, made his début there at the Opera as Count Liebenau in the 'Waffenschmied' (Lortzing), with such success that he obtained a two years' engagement. In 1867–70 he was engaged at Breslau, and in 1870–76 at Leipzig, where he made his reputation, both in opera and concerts, as one of the best German baritone singers of the day. As such in 1876 he played both Donner and Gunther in the 'Nibelungen' at Bayreuth. From 1876 to 1883 he was engaged at Hamburg. In 1882, as a member of that company, he sang in German at Drury Lane in all the operas then performed, viz. The Minister ('Fidelio'); Lysiart on revival of 'Euryanthe,' June 13; 'The Flying Dutchman,' in which he made his début May 20; Wolfram; Telramund; as Hans Sachs and King Marke on the respective productions of 'Meistersinger' and 'Tristan und Isolde,' May 30 and June 2 respectively. He made a great impression at the time, and his Hans Sachs will not readily be forgotten by those who saw it. From the autumn of 1883 till the present time he has been engaged at Munich.
GUTMANN, Adolph. See vol. ii. p. 732b, and add date of death, Oct. 27, 1882.
GYE, Frederick, born 1809, the son of a tea-merchant in the city of London. He entered upon his career as an operatic manager and impresario on the secession of Costa from Covent Garden in 1869, 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. Albani. He died Dec. 4, 1878, 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.
