Show Summary Details

Page of

Printed from Grove Music Online. Grove is a registered trademark. Under the terms of the licence agreement, an individual user may print out a single article for personal use (for details see Privacy Policy).

Subscriber: null; date: 27 January 2020

Guidi, Giovanni Gualbertolocked

  • Stefano Ajani
  • , revised by Bianca Maria Antolini

(b Florence, Oct 12, 1817; d Florence, Jan 17, 1883). Italian music publisher and double bass player. He played the double bass at the Teatro della Pergola, Florence (1849–53), and in 1844 opened his publishing firm under the name G.G. Guidi, Stabilimento Calcografico Musicale. He both founded the Società del Quartetto di Firenze and published the music performed at its concerts and competitions in the society’s journal, Boccherini (1862–82); he was also the publisher of the winning compositions at the Duea di S Clemente competition. His catalogue included a number of chamber works and overtures by Beethoven, Mozart and Mendelssohn, and compositions by contemporary musicians, including Bottesini and Francesco Anichini. He published many full scores of operas, including Rossini’s Guillaume Tell and Il barbiere di Siviglia, Meyerbeer’s Les Huguenots and Robert le diable, and Peri’s Euridice (1863), transcribed directly from the 17th-century edition. The catalogue also contained operas by Morlacchi and Mancinelli, polyphonic music, including madrigals by Tromboncino and Arcadelt (1875) and piano music for two and four hands. Many pieces appeared in his Biblioteca del Sinfonista and Biblioteca di Rarità Musicali series. Guidi also published the periodical Gazzetta musicale di Firenze (1853–5 founded with Abramo Basevi), which continued as L’armonia (1856–9).

The firm was the earliest in Italy to publish pocket scores in Italy (starting with Guillaume Tell and Les Huguenots in 1858), for which it was awarded a prize at the Italian Exhibition in Florence in 1861. Guidi’s editions were particularly admired for their clear engraving, using plates made by specially small die-stamps. The engraving was the exclusive responsibility of Guidi’s daughters Marianna and Amalia; after their father’s death they continued the business until 1887, when Ricordi bought it.

Bibliography

  • Atti dell’Accademia del R. Istituto musicale di Firenze, 22 (1884), 10–13
  • M. Capra, ed.: L’armonia, 1856–1859, RIPM (Ann Arbor, 1989)
  • A. Addamiano: ‘La figura e il ruolo di Abramo Basevi nella vita musicale fiorentina del secondo Ottocento’, in A. Addamiano and J. Sarno: Catalogo del fondo Basevi nella Biblioteca del Conservatorio “Luigi Cherubini” di Firenze, musica vocale: opere teatrali manoscritte e a stampa (Rome, 1994), pp.ix–lvi
  • B.M. Antolini: ‘La musica nelle celebrazioni del sesto centenario dantesco’, Il mito di Dante nella musica della Nuova Italia (1861–1914), ed. G. Salvetti (Milan, 1994), 33–51
  • C. Toscani: ‘Guidi’, Dizionario degli editori musicali italiani, 1750–1930, ed. B.M. Antolini (Pisa, forthcoming)
C. Sartori: Dizionario degli editori musicali italiani