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Scan 351
Baker's Biographical Dictionary of Musicians, 1919
20 lines. Read by computer on 11 September 2026, twice; the two readings disagreed in places. Printed page 8. See the scan on archive.org.
11894); Auf neutralem Boden (posth., Hamburg, 1901); a Trauercantate for soli, ch. and orch.; Die Hexe, op. 17, dram. scene for alto, ch. and orch.; 2 symphonies; string-quartets and trios, vln.-sonatas, pf.-music, songs, etc. —Cf. F. Pfohl. K. G. Ein Künstlerleben (Berlin, 1910). one of two readings
21894); Auf neutralem Boden (posth., Hamburg, 1901); a Trauercantate for soli, ch. and orch.; Die Hexe, op. 17, dram. scene for alto, ch. and orch.; 2 symphonies; string-quartets and trios, vln.-sonatas, pf.-music, songs, etc.—Cf. F. Pfohl. K. G. Ein Künstlerleben (Berlin, 1910). one of two readings
4Grana’dos y Campi’na, Enrique, b. Lerida, Catalonia, July 27, 1867; d. at sea, March 24, 1916 (victim of the Sussex disaster in the Engl. Channel). He studied pf. at the Barcelona Cons. with B. Pujol, and comp. at the Madrid Cons. with F. Pedrell (1884–7); then he was for one year a pupil of Ch. de Bériot (pf.) at the Paris Cons. He first attracted attention with a zarzuela, María del Carmen (Madrid, 1898), which soon made the rounds of the principal theatres of Spain; fragments of an opera, Folleto, were successfully prod. at Barcelona in 1903. In 1899 he wrote an opera, Goyescas (inspired by scenes from Goya’s paintings); being dissatisfied with the work, he selected certain portions and arranged these as a suite for pf.; later F. Periquet wrote a new text, and G. used the music of the suite in the new opera. The première of Goyescas took place, in the presence of the composer, at the M. O. H. on Jan. 28, 1916; it was fairly successful, and has the distinction of being the first Spanish opera sung in Spanish in the U. S.—G.’s other works are an early opera, Miel de la Alcarria (1893); the symph. poems La Nit del Mort and Dante; incidental music to Mestres’ fairy-play Liliano; a piano-trio; a string-quartet; piano-pieces (Danzas españolas, Cantos de la Juventud, Valses poéticos, Marche militaire, A la Cubana [the last two also arr. for orch.], etc.); songs (especially those on texts by Apeles Mestres). G.’s music is essentially impressionistic, with an admixture of specific Spanish rhythms and excess of rather meaningless ornamentation.—2-page sketch in ‘M. T.’, Dec., 1916.
6Grancino [-chē'-], Paolo, a violin-maker, who worked at Milan from 1665–90; the instruments of his son Giovanni Battista (1696–1715) are more highly esteemed, especially the ’celli.
8Gran’di, Alessandro de’, b. Venice(?); d. Bergamo, 1630. Church-comp. of the Venetian school, pupil of G. Gabrieli. In 1597, m. di capp. at the Accad. della Morte in Ferrara; in 1617, singer at San Marco, Venice; in 1620 succeeded Negri as vice-maestro there and in 1627 became m. di c. at Santa Maria Maggiore, Bergamo, where he died of the plague.—Works: Madrigali concertati; Litanies, Vesper psalms, Masses, Motets, etc.—See Q.-Lex.
10Grandjean [grāhn-zhāhn'], Axel Karl William, b. Copenhagen, Mar. 9, 1847. Pupil of the Cons. there; began as an operatic singer (1869), but gave up the stage at the end of the first year, and devoted himself to teaching and comp.; was for many years chorusmaster at the R. Opera and cond. of several choral societies.—Works: The operas De to Armringe (Copenhagen, 1876), Colomba (ib., 1882), I Möllen (ib., 1885), Oluf (ib., 1894); Traegfuglen, for soli, ch. and orch.; piano-pieces; songs. On the occasion of the Holberg bicentenary he edited a collection of incid. music written to H.’s dramas (1884). one of two readings
11Grandjean [grāhn-zhāhn'], Axel Karl William, b. Copenhagen, Mar. 9, 1847. Pupil of the Cons. there; began as an operatic singer (1869), but gave up the stage at the end of the first year, and devoted himself to teaching and comp.; was for many years chorusmaster at the R. Opera and cond. of several choral societies.—Works: The operas De to Arminge (Copenhagen, 1876), Colomba (ib., 1882), I Möllen (ib., 1885), Oluf (ib., 1894); Traegfuglen, for soli, ch. and orch.; piano-pieces; songs. On the occasion of the Holberg bicentenary he edited a collection of incid. music written to H.’s dramas (1884). one of two readings
13Grandval, Mme. Marie-Félicie-Clémente de Reiset, Vicomtesse de, noted composer; b. Saint-Rémy-des-Monts (Sarthe), France, Jan. 21, 1830; d. Paris, Jan. 15, 1907. At first a pupil of Flotow, later of Saint-Saëns, in composition. Her début as a composer was with a Mass and a Stabat Mater (perf. in various churches); under various pen-names (Valgrand, Tesier, Blangy, Jesper, etc.) she produced the operas Le Sou de Lise (Paris, 1860), Les Fiancés de Rosa (ib., 1863), La comtesse Eva (ib., 1864), La Pénitente (ib., 1868), Piccolino (ib., 1869), Atala (ib., 1888), Mazeppa (Bordeaux, 1892); also wrote a dramatic poem, La Forêt (1875); an oratorio, ‘drame sacré’, St. Agnes (1876); a dram. scene La fille de Jaïre (won Prix Rossini, 1879); do., Jeanne d’Arc; Esquisses symphoniques; songs.
15Gräner, Paul, b. Berlin, Jan. 11, 1873. Having filled various positions as operatic cond. in Bremerhaven, Königsberg, Berlin, and London (Haymarket Th., 1896), he taught at the R. A. M. from 1897–1902; then at the ‘Neues Konservatorium’ in Vienna until 1909; dir. of the ‘Mozarteum’ in Salzburg, 1910–13.—Works: The operas Das Narrengericht (Vienna, 1913) and Don Juan’s letztes Abenteuer (Leipzig, 1914); a symphony in D m.; a sinfonietta; piano-pieces; songs and choruses. In his ‘Kammermusikdichtungen’ he attempts to carry out a definite program in the established forms of chamber-music (a piano-trio after Raabe’s Der Hungerpastor; a piano-quintet, Sehnsucht an das Meer).
17Granjon, Robert, celebrated music-printer and typefounder at Paris (1523), Lyons (1559), and Rome (1582), is particularly noteworthy for having engraved round note-heads (instead of the lozenge-shaped ones then in vogue), and for discarding the ligatures, etc.
19Grant-Schaefer, George Alfred, b. Williamstown, Ontario, July 4, 1872. Pupil of D. Ducharme (pf.) and G. Couture (voice) in Montreal, of V. Garwood (pf.) and A. Weidig (theory) in Chicago, and of C. A. Harriss (org.) in London; org. and ch.m. at Centenary Ch., Chicago, 1896–1908; since then head of vocal dept. at Northwestern Univ. School of Mus., Evanstown, Ill.; comp. of meritorious songs and piano-pieces of mod-
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