DICTIONARY OF MUSIC - El Atril

GULLI GUNG'L 261
playing the Machete, perhaps twenty together,
with occasionally a larger five -stringed one
accompanying. A. J. H.
After the cithren had gone ont of favour (it
had never possessed much), long before the close
of the 17th century, no instrument of the guitar
type ap[)ears to have been in common use in
England until the middle of the 18th century,
for the various kinds of lutes supplied all needs
for song accompaniments.
About 1756-58 there was introduced from the
Continent the Italian form of Cetera referred to
in the previous article as the English guitar.
Robert Bremner, the Edinburgh and London
music publisher, issued in 17 58, before he left the
former place (and afterwards reprinted in London)
the earliest treatise known to the writer on
playing the English form of the instrument.
Bremner in tliis speaks of the guitar as ' but
lately introduced into Britain.' Other early
instruction books are those published by Johnson
of Bow Church Yard, circa 1759-60 ; Thompson
k Son, circa 1760 ; James Longman & Co., circa
1767, and others of later dates.
In spite of its feeble cpiality the English wirestrung
guitar had considerable popularity, being
the feminine substitute for the German Flute,
then in such favour with the male amateur.
The Spanish variety, introduced 1813-15, gTadually
displaced it, but this was not at its highest
point of favour until the thirties. The wirestrung
English guitars are found by several
London makers, Longman & Broderip's and
Preston's occurring most frequently. Those by
Preston (among liis later makes) have an ingenious
ratchet arrangement for tuning, worked
by a removable key.
As mentioned under Gittekn, instruments
of the guiitar type had, in the 16th and 17th
centuries, no very definite nomenclature, hence
much confusion in exactly identifying them
from contemporary literary references. The
gittern and the guitar appear to have frequently
exchanged names. In one of the early diction-
aries, The English E.rpositor improvd^ 10th ed.,
1707, we find :
' Ghittar, an instrument like a
citteron, but the strings are guts.' The gutstringed
gittern and the guitar would of course
be jiractically identical. r. K.
GULLI, Lur(;i, an eminent Italian pianist,
was born on June 17, 1859, atScilla, in Calabria.
His early musical studies were superintended by
his father, himself an amateur of some distinc-
tion. At the age of eleven he was sent to the
Real Collegio di JIusica in Naples, where lie
studied for nine years under the celebrated
Beniamino Cesi. On leaving Na])les he estab-
lished himself in Rome as a teacher of the piano-
forte. His principal success as a performer lias
been won in connection with tlie quintet of
musicians whose ensemble performances liave
been one of the chief features of the Roman
season since 1896. To this 'Societa del quin-
tetto GuUi '
the founder has devoted assiduous
attention with such happy results that its
renderings of classical and modern chambermusic
have been recei-i'ed with remarkable favour
in Berlin, Paris, Copenhagen, Christiania, and
other continental cities. Luigi Gulli's solo
performances, in which a masterly technique is
combined with great warmth of expression,
temiiered, however, with singular refinement,
denote strong leanings towards the romantic
school. H. A. w.
GUMPELTZHAIMER, Adam, born about
1560 at Trostberg in Upper Bavaria, was instructed
in music by Father Jodocus Enznniller
of the convent of S.Ulrich, Augsburg ; in 1575 he
went into the service of the Duke of "Wurtemlierg
as musician, and gained considerable reputation
as composer of songs both sacred and secular.
In 1581 lie was appointed cantor at St. Anna,
Augsburg, retaining the post till 1621. His
sacred songs or hymns, generally for several
voices, sonietimes as many as eight, are considered
almost equal to those of Lassus. He
also wrote Compendium musicae lat intern -gernianicum,
Augsburg, 1591, of which, up to 1675
twelve editions were published. His A'cue
tcutsche geistliche Liedcr for three voices, was
printed at Augsburg, 1591, and a series of
similar things for four voices in 1594. A Contrapwmlus
for four and five voices appeared in
1595, SacroruinConccntvum^ lib. 1 in 1601, lilj.
2 in 1614, Ps. li. « 8 in 1619, and hymn-books
at various dates. (See the QucUcn-Lexikon.)
He died early in Nov. 1625.
GUNG'L, Joseph, popular composer of dance
music, born at Zsambek in Hungary, Dec. 1,
1810 ; son of a stocking-weaver ; began life as
a schoolmaster. He received his first instruction
in music from Semann in Buda, and having
enlisted in the Austrian army, was first oboist
and then bandmaster to the fourth regiment of
artiller)'. His Hungarian March, op. 1, was the
first of a long series of marches and dance music.
Up to 1843 Gung'l made concert-tours with his
regimental hand to Munich, Augsburg, Nuremberg,
Wiirzburg, and Frankfort, performing
chiefly his own pieces, but in that year he
established a band of his own at Berlin, and his
jiublisliers. Bote and Bock, are said to have
made large sums by his music. On his return
from America, in 1849, he was appointed niusikdirector
to the King of Prussia ; and in 1858
capellmeister to the Emperor of Austria. In
the meantime lie and his band had visited
nearly every capital on the continent. Gung'l
lived at Munich from 1864 until 1876, when he
went to live at Frankfort. He died at "Weimar,
Jan. 31, 1889. His works are very numerous.
It is stated that down to tlie end of 1873 he
had composed 300 dances and inarches, for the
most part distinguished by charming melody
and marked rhythm.
His daughter Virginia, an opera -singer of